.'■■>■
.IUNF
25*
Scanned from the collection of
Shane Brown
Coordinated by the
Media History Digital Library
www.mediahistoryproject.org
Funded by a donation from
David Sorochty
Digitized by the Internet Archive
in 2012 with funding from
Media History Digital Library
http://archive.org/details/motion1724moti
JUNE
25 <t
IO
A BREWSTER PUOUCATiON
Florence Vidor
—
1
T>
^\^ / zAsk a Favor of the J^adies
I have a great delight — an Olive Oil
Shampoo for them
V. K. CASSADY, B. S. M. S., Chief Chemiu
Dear Madam:
OUR husband knows
me the chief chemist
at Palmolive.
I have just given him
a new delight; a gentler, quicker
shaving cream.
Now I have as great a joy for
you. A gentle shampoo — olive
oil! — that does not make hair
dry and brittle, that leaves it
soft and gleaming.
The favor I ask is that you try it.
And then give me your opinion.
I Asked 1000 Women
Recently I asked over iooo wo-
men what they wanted most in
a shampoo.
They named but one require-
ment. But as yet had failed to
find it:
A thorough cleanser that would
take out all grime and foreign
matter — yet which would not
take away the life and lustre that
adds so much to charm.
Scores of scalp experts agreed.
They said ordinary shampoos
were too harsh. And advised the
oil shampoo — but made a point
of olive oil.
So the Olive Oil Shampoo
Now I offer you the olive oil
shampoo — world famous — for
you to use at home.
After the ordinary harsh sham-
poo, results will be a revelation.
You will note them in your mir-
ror. Your friends will note them.
And then you will do as thou-
sands have done — thank me for
a new delight.
PALMOLIVE
SHAMPOO
,-•
e>
<~cptrl*kt W»
-Th. Palmoliw Qb. 171(1 ^
L
.
I
LASSIC
The Picture Book De Luxe of the Movie WoilJ
A BREWSTER PUBLICATION
JUNE, 1923
No. A
COVER PORTRAIT— FLORENCE V1DOR
Painted b) R. Dahl from ;i photograph !>v \Vit/<-l
The Remedy for Censorship. The final article by II
Classic's Gallery of Photoplayers: Robert Frazer, Bettj Compson,
Anna Q, Nilsson, M.n\ Philbin, Lois Wilson, Charles de Roche I-
Hungry Hearts of Hollywood. Heretofore suppressed desires told t.» H
The Tragic Muse. A character pi una it of Mine. Jctta Goudal
The Return. Of Francis \. Bushman Susan Elizabeth
Foreign Films. \t a glance \tau
Trilby. Amine Lafayette, a Du Manner ideal
Little Old New York. Told in short story form Patt it la
At Lunch with Gloria. An interview Jeffery
Idol Worship. Hetty Blythe in an odd pose
The Heavy. "( me may smile and smile and be a villain." fane If. Li/wia
Hollywood Homes. Charles Ray
A Song of the Screen. Verses and pictures Dorothy Rosecrant n 4U
Half Chinese and Wholly Lovely Bat 41
Frank Lloyd's Jackie Coogan / ,iith Service 4_'
The Tragic Comedian. An unusual photographic study of Max Linder 44
The Celluloid Critic. The newest picture plays in review Laurence Reid 45
Iris In. Pertinent and impertinent screen comment //. II'. Hanemann 4X
The Photographer Takes the Stage. Classic's monthly department of
the theater 4';
Flashes From the Eastern Stars. Of the stage, on the screen Caught by the Editor 52
The Madness of Youth. A short story Lamb 54
Classic Considers The great ami the near great
The Heir to the Throne. ( )t Barthelmess
The Hollywood Boulevardier Chats Harr
Katinka From Chauve-Souris
The Modern Movie Hero
The Movie Encyclopaedia By Tfa Man 7(1
Subscription $2.50 per year, in advance, including postage, in the United States, Cuba, Mexico and Philippini
■. Foreign Countries £t.50 pet year. Single copies 25 cents
Subscribers must notify us at oner oi any change in ... ring both old and n< -
Pi bushed Monthly by Brewster Publications, [nc, at Jamaica, Y ,i .
Entered at the Post Office at Jamaica, N. )'., as second-class matter, under the act of March 3rd, 1X79.
PRINTED IN V. S. A.
Eugene V. Brewster, president and Edttor-ln-Chi, (; Guy L. Harrington. Vtee-Pretldent an,/ Business Manager; L G. Conlon,
E. M. Heinemann, Secretary.
EXECUTIVE and EDITORIAL OFFICES. 175 DUFFIELD ST.. BROOKLYN V V.
Copyright, 192.1, by Brewster Publications, Inc., in the United Static and Great Britain.
SUSAN ELIZABETH BRADY. Editor
ADELE WHITELY FLETCHER, Managing Editor
Harry Carr Western Representative
A. M. Hopfmuller Art Director
Duncan A. Dobie Director of Advertising
pablished monthly, comes out on the 12th. Tts elder sister, the Moi
n the 23rd ol (hi month • on the -.' .■
Announcement for July
Do you recognise <"i anachronism when you see one'
Fred Gilbert Blakeslee ha- written a penetrating, and what i- ran
structive criticism of the so called "costume pictures" that arc sweeping the
country today, lie has the sanest and most intelligent suggestion to offer tor the
prevention of historical errors and absurdities that we have vet seen. Read
COSTL'ME RESEARCH in the July Classic.
/
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YOU NEED NO PREVIOUS TRAINING. The course
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SUCCESS CALLS MEN OF ACTION ONLY. If you
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The following are a few of the nianv positions open in
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Architectural Designer, $4,000.
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Aeronautical Draftsman — Field Service of
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THE COLUMBIA SCHOOL OF DRAFTING
Roy C. Claflin, President
Dept. 2001. 14th & T SU., N. W. Washington, D. C.
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I COLUMBIA SCHOOL OF DRAFTING,
Dept. 2001. 14th and T Sts., N. W.,
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■ .Name *
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J City ■
[State Age J
Current Stage Plays
{Readers in distant tnivns ivill do well to preserve this list for reference tv/.'iese
spoken plays appear in their vicinity)
Ambassador. — Tessa Kosta in the mu-
sical gem "Caroline."
Apollo. — "The God of Vengeance."
Rudolph Schildkraut in an unusual play.
Astor. — "Lady Butterfly." Slight as to
plot but a charming musical comedy.
Bayes. — "Liza." Another "Shuffle
Along," destined to be even more popular.
Belmont. — "You
and I." H. B. War-
ner, Lucile Watson
and star cast in the
Harvard Prize Play.
Belasco. — Lenore
Ulric in "Kiki,"
David Belasco's pro-
duction of his own
piquant adaptation
of Andre Picard's
French farce. Miss
Ulric scores one of
the big hits of the
season with her bril-
liant playing of a
little gamine of the
Paris music halls.
You will love Kiki
as you loved Peg —
but differently. A
typically excellent
Belasco cast.
Booth. — The
"heaven'' in "The
Seventh Heaven" is
the top floor of a
Montmartre tenement in Paris. It is a
story of love and regeneration with touches
of humor and unreality. Helen Menken
gives an excellent performance.
Broadhurst. — 'Whispering Wires." One
of the numerous mystery plays now trying
to puzzle Broadway. This one succeeds.
Casino. — "Wildflower," with Edith Day.
The music is exquisite.
Central. — The home of Shubert vaude-
ville during the week. Two concerts are
given on Sunday.
Century. — In "The Lady in Ermine" we
have a musical comedy with a plot that it
follows effectively or comes back to after
each departure as if it really meant to be
something more than vaudeville. The ac-
tion concerns a romantic legend about an
ancient European castle. Wilda Bennett
as the heroine sings charmingly.
Century Roof. — "The Chauve-Souris" of
Nikita Balieff and his Russian entertainers
from Moscow. Fourth bill. Better than ever.
Cohan. — "The Exile." A romantic
comedy by Sidney Toler featuring Eleanor
Painter and Jose Ruben.
Comedy. — "Anything Might Happen."
Delightful comedy with Estelle Winwood
and Roland Young.
Cort. — Harry Leon Wilson's popular
story, "Merton of the Movies," has lost
none of its charm and humor in the drama-
tization. Glenn Hunter and Florence Nash
are perfectly cast as the hero and heroine.
Earl Carroll. — "The Gingham Girl." A
very tuneful, interesting musical comedy
with a chorus of eight lively flappers.
Helen Ford is the gingham girl, and Eddie
Buzzell furnishes the comedy. A triumph
of quality over quantity.
Eltinge.- — "Morphia" is a play that acts
as a vehicle for Lowell Sherman to give
a realistic portrayal of a drug fiend.
Empire. — -"Zander the Great." Alice
Brady's return to the stage. Review later.
Forty-fourth Street. — "Sally, Irene and
Mary" is a musical comedy full of the
usual pretty girls, dancing and songs.
Forty-eighth Street. — "Anathema." Re-
view later.
Classic's List of Stage Plays
and Revues in New York
That You Should See
°$
"Merton of the Movies"
"The Adding Machine"
"7th Heaven"
"Wildflower"
"The Last Warning"
"Rain"
"Romeo and Juliet"
i
Forty-ninth Street. — "Give and.<e."
Aaron Hoffman's new play, witouis
Mann and George Sidney.
E razee. — "Barnum Was Righ An
American Farce. Review later.
Gaiety. — "If Winter Comes. The
stage version of Hutchinson's ular
novel with Cyril Maude giving a .idid
characterizai o f
Mark Sabre
Henry Jr. —
"Romeo andiet."
Jane Cowl her
performance's a
remarkable ires-
sion of youtouth
in love. Her lcia-
tion of Shakare's
lines is perf'
Hippodr.. —
"Better Tim The
largest coest,
and most n: and
prettiest of i ries.
The Fan Bt of
more than fchun-
dred persons per-
haps the st fea-
ture.
Hudson. "So
This Is Lo*n !"
George Coh; new
English cedy,
which suffeiomc-
what frorrxag-
geration, but is a most amusing :y of
clashing temperaments — the Eng and
the American. Worth seeing.
J olson's Fifty-ninth Street. — ene."
Second engagement of the popularisical
comedy.
Klaw.— "The Last Warning," a stery
play that fairly congeals the audie with
terror. Every trick is used to bu up a
perfect atmosphere of horror, bnning
with the tarantulas that swarm r the
walls of the green room in the fi act.
Knickerbocker. — "The Clinging,rine,"
a comedy with music. Clever, mml and
the welcome vehicle that bring;3eggy
Wood back to Broadway.
Liberty.— "Little Nflly Kelly." ne of
George M. Cohan's best. Quite eigh to
say about a play.
Little.— "Bolly Preferred." A^medy
of modern business, in which (evieve
Tobin does some excellent acting.
Longacre. — "The Laughing .adv."
Ethel Barrymore in Alfred Suti play
has found herself again.
Lyceum. — "The Comedian." F curing
Lionel Atwell. Review later.
Maxine Elliott's. — "Rain" is ; bitter
tragedy by Somerset Maugham; i iolent
attack on the repressions of Punnism.
Jeanne Eagels is superb in the lead{ role.
Morosco.— "The Wasp." A playeatur-
ing Otto Kruger, Emily Ann Vllman,
and Galina Kopernak.
Music Box. — The new "Revu" — No
pains have been spared in the mter of
delighting the eve.
National.— "The Dice of the God' The
incomparable Mrs. Fiske charm.? her
audience in spite of a poor play.
Mew. Amsterdam. — "Ziegfeld Fcies of
1922." "Glorifying the Americai Girl."
More gorgeous, more elaborate, nre ex-
pensive, more distracting, and a lite fun-
nier than usual.
New Winter Garden. — "The hncing
Girl" — A musical extravanganz; with
Trini, Spain's most beautiful gir) .
(Continued on page 92)
(lx)
■
-in-law
with t
VS.l^ I I
■
■
m \> wl \% I. a
ell that j [></t BMOAfWM
. \ jr
rtinj l»at»\. Isn't lie WOfth
II he |ur« of it when you
iilJ Llo) J In " 1 Do."
you've lost your funny-bone—
r>u think a comedian Is onlv
down or a buffoon you will
-e»ly change your mind when
vole this poor timid, lovable
hoarn the secret of Courage.
Arhrcwd, loving Grandma —
ih lew what he needed. No
wc r "Grandma's Bov" was
vo among the best ten motion
ou :s of the year.
I 1 you tliink no motion picture in the world can
A make you laugh a good old-fashioned laugh again
— take this prescription. It's tested and unfailing,
especially compounded for just such a critical case
as yours.
K
Six Encore Pictures of Harold Lloyd.
Sig: Take one after meal time. Alone or ac-
companied by friend, member of family
or stray child. Get into comfortable seat at
motion picture theatre and — shake well!
S. Q. Lapius, M.D.
After the first treatment you will feel so much
better you'll tliink you are cured. But don't stop
with one picture. Keep the treatment up. Take all
six — and you'll want to cure others!
Ask your theatre manager for this tested group of
gloom-destroyers. He will be glad to give you the
genuine — bearing the signature of that distinguished
producer, Hal Roach.
Distributed by Associated Exhibitors, Inc. Arthur
S. Kane, President, 35 West 45th Street, New York.
Physical Distributors, Pathe, Inc.
SOMI HOW Lloyd feels that the bathing pool of the
Sultan's Harem i ; no Ioiik' t
from the Sultan'i
clutch- re onlv two of the perplexities which
best r Harold Lloyd in " \ Sailor-Ma li n you
uproarious adventures you'll wonder how he could
cram so much hilarif v into one short huur.
la
if
oft
l.lo
may
upi
utl
roari
fa
ROI.D and Mildred find In
\ \ cr Weaken " that true
a dangerous course,
Li in the air. Lovelorn
perched on a girder, doin^r.
el t to get back to solid
to his sweetheart —
t sound funny, but it is an
ous spectacle.
WHEN a fellow who has never beenoutsidehishomctowngcts
into society, and is asked to tell of his African hunting cx-
periences — just what would the book of etiquette advi*
his imagination, is our guess.
And in "Among Those Present," Lloyd does use his imagina.
tion — recklessly and wondrously as you can judge from the ex.
pression of his hostess.
IT doesn't seem quite
fair to ask a pain-
fully respectable, un-
domesticated bachelor
to play chaperon to a
full -of- the -mischief,
four-year-old girl in a
1 Pullman. But
m or Never"
Lloyd does find a way
out of his troubles —
after bis own fashion.
core
ENCORE PICTURES are chosen from
hundreds of new motion pictures offered
us each year — cb
tually enttnain the private audiences who
em in advance.
This line of high grade pici.
eludes:
Harold Lloydin"Grandma'sB
Do,"
en," "Among Those Present," and "A
Sailor-Made Man."
Constance Binney in "A Bill, of
Divorcement" — an absorbing drama
ling the depthsof human feeling.
"Head Hunti rsof the
— a truthful record of a thrilling ad-
mire.
Florence Vidor in "Alice Ada'-
a wonderfully faithful and .
picturi'ation of Booth Tatkington's
fl; — andothcr
To be sure of having all the better
photo-plays shown in your neighborhood
Mould form a Better Pictures Council
irk with the managers of your local
picture the .r
than 6oo communities have or-
- d such Councils. Every month the
members receive impartial reports of all
i*hilc phot'
tures alone. The Council recommends the
bcNt pictures to the theatre manager and
endorses them to the public.
Thus everybody benefits — theatre goers
can make known in advance what pictures
. and the theatre i
\\ hy don't i
getti-
■
"Getting B
Works." Arthur J>. Kane, 7- ;
West 45th Street, New .
(Snen)
Will ibur Conscience
Let YOU Marry'?
STRONGFORT
The Perfect Man
Regrets will haunt you all
your life If you marry before
you are physically fit and a
real man In the full sense of
the word.
Lionel Stroiiylort
When Marriage
Means Misery
Marriage always means
failure, tlisappointment.
hard luck and misery to
the man who has neglect-
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that some pure innocent
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It's a crime to deceive
her and wreck her happi-
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to bring onto the F.arth
sickly, defective children,
who will be a burden and
reproach as long as you
live.
Root Out The Crop
of Youthful Folly
Vou have sown a big
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without regard to your
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The truth about the scientific application of Natu-
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PhvBical and Health Specialist
Dept. 346 Founts i*-,s Newark, N.J.
FREE CONSULTATION COUPON
Mr. Lionel Strontfl'ort. Dept. 346. Newark. N. J.— Please send
me your book. "Promotion and Conservation of Health,
Strength and Mental Energy," for postage on which 1 en-
close a 10-cent piece (one dime p. I have marked (Xj before the
subject in which 1 am interested.
Colds
. . Catarrh
. Asthma
. . Hay Fever
Obesity
Headaches
. Thinness
. Rupture
Lumbago
Neuritis
. Neuralgia
. Flat Chest
. .Deformity
(Bea
. .Successful
Marriage
. .Rheumatism
. .Pimples
. .Blackheads
. . Insomnia
..Short Wind
. . Flat Feet
. Stomach
Disorders
. .Constipation
. .Biliousness
. .Torpid Liver
. .Indigestion
. Nervousness
. . Poor Memory
. Vital Losses
. . Impotency
. Weak Eyes
. . Despondency
..Diabetes
. . Female Disorders
. Increased Height
. .Youthful Errors
. . Manhood
Restored
. .Prostate Troubles
. . Neurasthenia
..Falling Hair
..Gastritis
. .Heart Weakness
..Poor Circulation
..Skin Disorders
. . Round Shoulders
. .Lung Troubles
. .Stoop Shoulders
. Muscular
Development
. .Great Strength
Name.
I Age Occupation..
Street City.
Manufacturers, Distributors
and Studios
of
Motion Pictures
New York
Advanced Motion Picture Corp., 1493 B'way.
Arrow Film Corp., 220 W. 42nd St.
Astra Film Corp., 1 Congress St., Jersey
City, X. J. (Studio.)
Ballin, Hugo, Productions, 366 Fifth Ave.
Biograph Studio, 807 E. 175th St.
Community Motion Picture Bureau, 46 \V.
-Mil) St.
Consolidated Film Corp., 80 Fifth Ave.
Cosmopolitan Productions, 2478 Second Ave.
F.ducational Film Co., 729 Seventh Ave.
Export & Import Film Co., 729 Seventh Ave.
Famous Players-Lasky, 485 Fifth Ave. (Stu-
dio, 6th and Pierce Sts., Astoria, L. I.)
Film Booking Offices, 723 Seventh Ave.
Film Guild, 8 W. 40th St.
Film Market, Inc., 1482 Broadway.
First National Exhibitors, Inc., 6 \V.48th St.
Fox Studios, Tenth Ave. and 55th St.
Gaumont Co., Congress Ave., Flushing, L. I.
General Enterprises, Inc., 1540 Broadway.
Goldwyn Pictures Corp., 469 Fifth Ave.
Graphic Film Corp., 729 Seventh Ave.
Griffith, D. W., Films. 1476 Broadway. (Stu-
dio, Oriental Pt., Mamaroneck, N. Y.)
Hampton, Hope, Productions, 1452 B'way.
Hodkinson, W. W., Film Corp., 469 Fifth
Ave.
Inspiration Pictures, 565 Fifth Ave.
International Studios, 2478 Second Ave.
Ivan Film Prod., 126 W. 46th St.
Jans Pictures, 729 Seventh Ave.
Jester Comedy Co., 220 W. 42nd St.
Kane, Arthur S., Prod., 25 W. 43rd St.
Metro Pictures, Loew Bldg., 1540 Broadway.
Moss, B. S., 1564 Broadway.
Outing Chester Pictures, 220 W. 42nd St.
Pathc Exchange, 35 W. 45th St.
Piedmont Pictures Corp., 45 Laight St.
Preferred Pictures, 1650 Broadway.
Priznia, Inc., no W. 40th St.
Pyramid Picture Corp., 150 W. 34th St.
S. L. Pictures, 1540 Broadway.
Seitz, George B., 1990 Park Ave.
Selznick Pictures, 729 Seventh Ave. (Stu-
dio, W. Fort Lee, N. Jj
Stewart, Anita, Prod., Inc., 6 W. 48th St.
Sunshine Films, Inc., 140 W. 44th St.
Talmadge Film Corp., 1540 Broadway,
ropics of the Day Film Co., 1562 Broadway.
Triangle Distributing Corp., 1459 B'way.
Tully, Richard Walton, Prod., 1482 B'way.
United Artists, 729 Seventh Ave.
Universal Film Corp., 1600 Broadway.
Vitagraph Films, E. 16th St. and Locust
Ave., Brooklyn.
Warner Bros., 1600 Broadway.
West, Roland, Prod. Co., 236 W. 55th St.
Whitman, Bennett, Prod., 537 Riverdale Ave.
BE
AN
ARTIST
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(Eight)
Editor's Note. — This is the third and lost article by Mr. Leeds
on the cause, result and cure for censorship. We hope you will
not overlook the fact that, after all, the remedy is in your hands.
If there is any other phase of the moving picture industry yoti
would like to have discussed, let us know. We'll see Mr. Leeds.
JL'ST as there is a remedy for everything from spring
fever to Ben Turpin's shortcomings as a romantic
lead, so also there is a cure for censorship. Like all
diseases, however, it requires diagnosis. Examined
thoughtfully, it discloses to us, its doctors and physicians,
two important aspects. It is either:
( 1 ) A menace to entertainment ; or
(2) An attempt to- lessen the free spread of information, an
attempt to curtail freedom of thought, and hence a thing political
in its nature to be remedied by the voters of the republic.
In short, the remedy lies in your hands. If you are
movie fans, you are voters, too, hut politics is a matter,
first, of argument, and, secondly, of organization. The
argument in favor of censorship is that pictures of an un-
fortunate moral tone have from time to time been offered
the public. That this, if it ever happened really, might
not happen again, the picture producers themselves set up
the Honorable Will H. Hays as a boss. That the pro-
duction of pictures over which honest people may differ
was usually the work of fly-by-nighters who sneaked into
the game and sneaked out with their clean-up is not so
generally understood.
Xor is it clear, generally speaking, that for such dis-
agreeable occurrences there was a cure without resort
to censorship. Granting that an immoral picture ever was
shown li these United States of America, to end its run
required only an appeal to the courts. Any citizen could
go in a id make that appeal and get immediate action.
Citizens who do not like the movies have searched end-
lessly f<lr causes to take to court. Failing to find them,
they hit- upon censorship as a scheme for bringing their
prejudices to bear on our favorite amusement.
The point cannot be too strongly emphasized that there
is everywhere in the union already a remedy for immoral
pictureal. Should one be produced and shown, all that is
necessary is to call it to the court's attention. The judge
will end it quickly, but this is not what censors want.
They want to clamp down their narrow prejudices on
every type of picture. For example, because of censorship :
Girls have no legs in many states.
Kisses must be so long and no longer. In Maryland you cannot
kiss your wife's shoulder, in Ohio her foot.
Cigarets aren't smoked by men or women in Kansas.
In Pennsylvania babies are neither born nor expected.
Such words as "ornery," "hot doggie," "wild oats," "bright t
'baby lamb" and "gimme" are looked on askance.
Robert Louis Stevenson's famous children's story, "Treasure
Island," is regarded as an incentive for all youngsters to becomr
pirates and horse thieves, while Jackie Coogan breaking window «
in "The Kid" is also a bad example to other kids !
In Pennsylvania doll clothes are suggestive.
Enough ! Obviously, the censors' idea is not to impi
our morals, but something else again. What this some-
thing else is, we may well set out to inquire, for if r
playboys of the western world are allowed to continue
to act like a lot of scared cats dancing the light fan-
tastic in a pool of* molasses they will slowly but surely
ruin the movies as a source of entertainment.
Obviously, if they are to continue in power, no one
will dare produce anything human enough to be inter-
esting. To do so would be to invite your filing destruc-
tion, so why continue them in power, a power they seek
not for the reasons they give but for the reason given
by George Bernard Shaw, the playwright, when he pointed
out that the movies by improved use of the sign language,
a language the same in every land, could easily revolu-
tionize the world. Taking charge of them to see that the
revolution they bring about suits a narrow minded few
is a purely "political action.
So far it has succeeded in great states like New York.
Ohio, Pennsylvania, Kansas, Maryland, Virginia and cer-
tain Canadian provinces, but the issue was joined last fall
in Massachusetts and lost by the censorship advocates.
The campaign was instructive, the majority 344.921 votes
against censorship. Before this, the issue had been left
to governors and legislatures.
This time the people got a chance to express their minds.
The total vote was 553,173 against 208.252 in favor. The
majority against censorship was 136,669 votes greater than
the total negative vote, but this happy result was brought
about in anything but a haphazard fashion. It was the
result, first, of argument, and, secondly, of organization.
Those opposed organized a Committee of Massachu-
setts Citizens Against Censorship. On this committee
( Continued on f
vert )
This interesting youth is a charming young
man about pktarcs. He is the hero of Mae
Murray's latest photoplay "Jassmania"
Robert Frazer
i
ThotoRraph by Edward Thayer Monroe
Betty Compson
11' e think this is the loveliest portrait of
Betty Compson that has ever come to our
offices. She is working at present on
"The Rustle of Silk"
Photograph by Richee
Blue-eyed and jonquil-haired like her northern
ancestors, Miss Nilsson is a sight for Klcig
eyes. She was charming in "Adam's Rib"
and we await impatiently her next picture, also
"The Rustle of Silk"
Anna Q. Nilsson
Photograph by Freulich
Mary Philbin
Sweet young girlhood is pictured here.
We shall see Mary again soon — in "The
Merry Go Round"
Photograph by Donald Biddle Keyes
•*»
Lois Wilson was fortunate enough to be
chosen for the heroine of "The Covered
Wagon" which is having an extraordinary New
York run. It has been called, "The film epic
of America" and you may be sure that Lois
contributes her bonny share
Lois Wilson
Photograph by Pach Brothers
Charles de Roche
This is the romantic French actor who
was brought to this country to take the place
of Rodolf Valentino. Docs anyone think he
can do it? We shall see. . . . His first
picture Tvill be with Dorothy Dalton in
"The Law of the Lazclcss"
I
Hungry Hearts
The Cinemese Tell
To HARRY
N Hollywood, everybody sits around and yearns
and yearns.
Every one I know in die film colony wishes she
were something else. They all sit around the sets
and sigh for the day when the great ambish comes
true.
It goes without saying, of course, that most of
them crave to be something they couldn't be — and
wouldn't like if they were. Which sounds a little
mixed but is true.
Here's Mary Pickford the crowned queen of mo-
tion pictures— so far above all jealousies and rivalries
that no other girl dreams of disputing her absolute
sway . . . rich beyond the dreams of avarice . . .
the most adored and most famous woman who ever lived. . . .
Of course there is nothing that Mary could possibly yearn for . . .
Oh, isn't there?
Wall
Now all this fame and
glory and wealth and so on
doesn't mean so much to
Mary. She is a lady with
a crushed ambition. What
Douglas Fairbanks also yearns ... to be
a playwright . . . and the funny part of
it is that Doug is quite likely to do it . . .
he will get hold, some day, of the moon
for which he is reaching
What Mary wants to be is a
painter . . . with palette on
one little thumb . . . and a
queen sitting on the throne
waiting to be painted
%
t>'
*.-
IMiotograph by Abbe
Dorothy Gish longs to be
anything but an actress
... a cook maybe in a
family where they are
all compelled to fast on a
hot water diet
K£y~
Mary wants to be is a painter. In her soul hunger
moments she sees herself standing in front of an
easel, a palette on one little thumb, perhaps her hair
mussed up a little and a little smudge of paint across
her face and a queen sitting on the throne to be
painted. Mary also mixes her dreams a little with
a yearning to be an interior decorator. She can
see herself walking thru a new house with a newly
(Eighteen)
of Hollywood
Their 1 leans' Desires
CARR
rich oil queen hanging on her w< • "I think you
should have this room in yellow with chairs »i something
scattered around."
Every time something goes wrong on one of her sets, whin
she i^ making picture dramas, Mar) sighs and says, "1 never
should haw tried this business. 1 should have followed my
itiny and been a painter . . . away from all this fuss and
worry . . . all these lights . . . and directors . . . and actors
cant act ..."
Douglas Fairbanks also yearns.
His film career is well enough of course: one must no1 quarrel
with one's bread
and butter . . .
that's true .
that's true.
But if he had
h i s w a \ . h e
would he a play-
wright— a regu-
lar (ius Thomas
. . . first nights
with awed and
frenzied crowd-
calling for the
author . . . anx-
D. W. Griffith cherishes
a desire to be a great
orator swaying the masses
. . . swaying the theater
. . . the chandelier . . .
and everything
In the bottom of his soul Charlie Chaplin has a
hankering to be the leader of a great symphony
orchestra . . . white gloves ... a baton . . .
thundering applause ... a deprecating bow . . .
savages tamed by music . . . Gosh!
Alhin
Lillian Gish in her
dreams sees herself
the lady principal
of a girl's college
. . . telling them
all about the dative
case and the cum
clause
ious producers hegging to be remembered when
he writes his next one . . . Shakespeare green
with envy in his frames. And the funny part
it is that Douglas is quite likely to do it.
Of all the actors on the screen, he prohahly has
the most accurate and inspired knowledge of the
elements of true drama. Doug can find the
weak spot in a play with the sure knowledge
of a magnet finding a piece of iron. It is quite
likely that he will get hold, some day. of the
moon for which he is reaching.
And Charlie Chaplin . . .
Perhaps you think he is satisfied : hut down
in the hottom of his soul Charlie has a hankering
that cant he stilled. Charlie wants to he the
„ ¥*
(Nineteen)
CLASSIC
She says she will
be happy when
she overhears
someone 'say:
"Good Heavens!
There's that fat
Fazenda woman.
She's had an-
other baby!"
Photograph by Melbourne Spurr
Louise
Fazenda
says it
means
nothing in
her life to
be the fun-
niest wom-
an on the
screen
leader of a great symphony -orchestra . . . white gloves
... a baton ... a music rack ... a dark look at the
offending slide trombone player . . . thundering applause
... a deprecating bow . . . uplifted masses . . . savages
tamed by the divine flow of melody . . . Gosh !
D. W. Griffith has always cherished a secret ambition
to be a great orator, swaying the masses by his voice.
His favorite characters in all history are men like Danton
who have held mobs in the hollow of their hands. The
only trouble is they have always
been revolutionists. If D. W. could
only find something eminently re-
spectable as befitting a Kentucky
gentleman to sway them about. The
only outlet he can find for swaying
is putting skids under cen-
sorship. The truth is, he
could do it too. Griffith
has an almost hypnotic
power over men. The only
trouble is, in his case, the
mob swaying days of the
world seem to be over — for
Kentucky gentlemen.
Lillian Gish has a peculiar
dream that occasionally af-
flicts her when things go
wrong in the studio. Now
this is a funny one. She
would like to be the lady
principal of a girls' college.
She can see herself starkling
on the platform and dis-
coursing to a thrilled and
excited group of attentive
young ladies upon the peculiarities of the dative case as
used by Cicero in his famous orations. And she can see
herself getting letters from former pupils telling her that
all their successes in life have come from the sweet lessons
she imparted to them in the use of the cum clause in rela-
tion to the subjunctive mood.
Dorothy wants to be anything except an actress. She
confesses that every time something slips the trolley during
the making of a picture, she grabs up the Sunday paper
and reads the "want" columns. She says she has dis-
covered that the only thing she could do except act would
be to get a job as cook in a family where they are fasting
on a hot water diet.
Dorothy's husband — James Rennie — he's another
yearner. One of the best juvenile actors in the world, he
considers his job to be only a means to an end. What
James wants to do is run a newspaper. In his dream
moments, he can see himself in an editorial sanctum,
moulding public opinion and just laying out the reptile
contemporaries who have the audacity to dispute his views
on the protective tariff — just laying them out in long cold
rows.
Louise Fazenda ... it means nothing in her life to be
the funniest woman on the screen. What
she wants to do is to have a ranch in Cali-
fornia and be married to some nice man who
understands pruning young orange trees and
not to have worry about getting fat. She
says that she will be happy when she over-
hears some one say (as she comes to town
from her ranch) "Good heavens! There's
that fat Fazenda woman. She's had another
baby." Louise is quite likely to fulfil her
ambition insofar as owning a ranch is con-
cerned. A flock of ranches maybe. Louise
is a miraculously successful investor. She
must have all kinds of money by this time.
Harry Carey, the cowboy actor (who never was a cow-
boy by the way) yearns also. All his life he says he has
wanted to write and
act in sea stories. He
wants to be a tough-
rough -first -mate and
buck the waves with
(Cont'd on page 82)
,*?:*<-'-.
Every time
Monte Blue
gets out in
front of a
camera, his
heart aches
with longing
to be on the
other side of
the instru-
ment
(Twenty)
THE TRAGIC MUSE
An interesting study by White Studios of Jetta Goudal, a young French
actress of charm and distinction who has an important role in "The Bright
Shawl" the last colorful Hergesheimer story to be put on the screen
(T-centy-one)
Photograph by Edward Thayer Monroe
Above is the latest por-
trait of Francis X. Bush-
man, the whilom idol of
the screen who has
come back after an
absence of nearly four
years. Right is his wife,
Beverly Bayne and
their little boy, Richard
(in the dark suit). The
other child is appearing
with them in their pic-
ture "Modern Marriage"
soon to be released,
which we await with
profound interest
BEVERLY BAYNE is slen-
der and small, with little
feet and tiny little white
hands. She has delicate fea-
tures, a tenderly curved mouth
with a wistful droop, gentle
brown eyes and dark curling
hair. There is about her slight
person an air of pensive calm,
a magnificent — a tremendous
serenity. One immediately
senses that this girl has suffered,
The
Return
Of a One-Time Idol
has been thru the mill that
grinds out bitter years ; but it
has not destroyed her. Quite
the contrary. Here for once,
were the uses of adversity
sweet. Hers is the peace of
painfully acquired wisdom.
Beverly Bayne has come thru.
Francis X. Bushman is an-
other story, another type. He
is big and blond and ruddy,
bristling with good health and
unbelievably fit. He is robust,
vigorous, aggressive. He is like
a strong clean wind blowing.
He really believes that all is
right with the world, but what
is more remarkable, makes you
think so too, no matter how
deep rooted your pessimism may
be. He is wholesome, with a
vitality that keeps that sanity
and sense he possesses in so
brave a measure from ever be-
ing dull. He is the husband of
Beverly Bayne and beside that
tie, they are alike in mind altho
they seem to have arrived at the
same conclusions, the same con-
tented, ultimately wise state, so
very differently.
They were completing the
(Twenty-two)
By
SUSAN
ELIZABETH
BRADY
last scenes o i
"Modern Marriage"
out at the Whitman
Bennett studios,
when it was our
privilege to talk to
them. Mr. Bush-
man was about to
throttle an attempt-
ed black-mailer, so
we didn't interrupt
and Beverly Bavin-
sat down beside us
and talked ; while
her husband roared
defiance on the set
and the director
megaphoned his ap-
proval; and her
little son. the three
year old Richard
pict ured here,
climbed on and off
her lap and got in
the way of the car-
penters and nearly
pulled the scenery
over on his small
head like any other
small boy ; and the
extras wandered
around in their pa-
thetically dull fash-
ion. But Beverly
Bayne never lost
her poise or became
even slightly ruffled.
"Do you find it
very different ?" we
asked.
"Oh no.'' she re-
plied, "not so very.
Better photography
and more acute di-
rection. The only
radical change I
note is the gener-
osity with footage.
One is really given
a chance now — that is — time to register an emotion. In
the old days if ten feet of film was wasted the company
contemplated bankruptcy. Now you can have all the
footage you need. Except for that, it is very much the
same. It is less than four years you know, actually."
We remembered this pair, tho it seemed longer ago
than that. Francis X. Bushman had a vogue then com-
parable to that of Valentino's now. He was the romantic
hero of the day. The unfortunate circumstances that
forced them to abandon pictures for a time, are universally
known. There is no need of going into that again. They
went on the vaudeville stage and stuck to that, altho a
Photograph by Edward Thayer Monroe ■
Beverly Bayne has delicate features, a tenderly curved mouth with a wist-
ful droop, gentle brown eyes and dark curling hair. There is about her
slight person an air of pensive calm, a magnificent — a tremendous serenity
little unwillingly, for nearly four years. They had tried
to come back to their first love several times, but richer
and richer contract-- were thrust upon them and vaudeville
claimed them with such a loud voice that there seemed
to be no denying it. Xow they are back and we shall see.
The public is a fickle jade and the outcome is at
mere speculation.
Driving home in the twilight •with. them. Mr. Bushman
had his chance. He believes in moti m pictures with all
his heart. Me said :
"I believe they are a great power, an incalculable
{Continued on page S3)
(1 a'enty-tht et >
Foreign
By MAURICE
ENGLAND
Above, Lady Diana Man-
ners in the English pro-
duction of "The Virgin
Queen," surrounded by
the ladies of her court.
Right, some of the beau-
tiful and authentic back-
ground for the Italian
film "Messalina." Below,
Henry Victor in the
British photoplay, "The
Prodigal Son" from a
story by Hall Caine
Below, Matheson Lang, an
extra and Victor Seastrom in
"Fire On Board" a Swedish
film directed by Victor
Seastrom
1AM glad to confirm what I said previously. England is
awakening, is now very much awake, and I have noticed,
amongst others presented during the last four weeks, three
pictures of decided merit, one of which contains scenes which
might even bear the signature of D. W. Griffith.
One must certainly remember that Miss Mae Marsh who
plays the lead in it, is American, but the producer is British
and he has succeeded in making one of the best pictures
England has so far produced. The title of the picture is
"Paddy-the-next-best-thing." The other two pictures are "A
Royal Divorce" of which I
spoke in detail in my last
article, and "The Virgin
Queen" the new color film
directed by J. Stuart Black-
ton. Both are well pro-
duced and can favorably
compare with the best pro-
ductions of today.
Let me just mention that
"The Prodigal Son" from
the book by Sir Hall Caine,
and which has just been
presented to the Press at
the Covent Garden Theatre.
London, is the longest pic-
ture made in England ; as
the producer wished, con-
trary to the usual custom,
to follow page by page all
the incidents of the book
and reproduce them on the
screen. . I repeat, it is cer-
tainly the longest English
picture, but the few inter-
esting dramatic scenes are
lost in the 17,000 feet of
film.
FRANCE
When Henry Diamant-
Berger was on location recently completing the
sequel to "The Three Musketeers," he paid a
visit, with some members of his company, to
the great French tragedienne, Mme. Sarah
Bernhardt. It was then announced that she
would appear in a film directed by Diamant-
Berger. It will be remembered that Sarah
Bernhardt appeared in two or three films made
before and during the war, amongst which are
"Tosca" and "The Story of Queen Elizabeth."
A friend of mine who approached the secretary
of the Paris Theatre belonging to Mme. Sarah
Bernhardt, told me that he did not think that
the celebrated actress would be able to work at
all for the cinema owing to her health which
has given her much trouble of late. *
Among the latest important French films pre-
sented is "La Bouquetiere des Innocents" which
is a historical film of the time of Henry IV.
A very interesting prologue begins this picture
*Since this was written the "Divine Sarah" has
given up the battle with ill health and gone to her
eternal rest. — Editor.
( Twenty-four)
Films
ROSETT
during which iii different pathetic scenes, we are shown one
of the good acta which Eienn IV used i i do so often and
which characterized him-. This prologue is ol a sentimental
nature and contains some verj attractive romantic scenes
SWEDEN
Among tlu' t i ! 1 1 1 > nude in Sweden during the last few
months is "Fire on Board" directed b) Victoi Seastrom. The
scenario is written bj the well-known Swedish author Hjalma
Bergman who is also well known in many other countries
his hook "Love's Crucible." The action of "Fire on Board"
takes place in great part on
hoard a ship and is full of
dramatic excitement. It is
a story of the fight of two
men for a woman. ( hving
to the limited space it has
thru the fact that the action
is going on within the rails
oi the ship, the picture has
a fascinating grip on the
spectators. The part of the
film where the ship is sink-
ing is very sensational and
is likely to be unique in the
history of the film. The
leading artists are Matheson
Lang, the well known
English stage actor, Victor
Seastrom, and Mrs. Jenny
Hasselqvist. the latter
the greatest Swedish trage-
dienne.
During the present year,
the Svenska Filmindustri
will make a considerably
greater number of films
than before. The staff of
Swedish actors is increased
and furthermore the im-
portant Russian film man
Dimitri Buchowetzki, the
producer of "Danton" which
was shown in America under the title of "All
For A Woman" has been engaged. The scenario
of one of the films which Buchowetzki is going
to make has been written by himself in col-
laboration with the Hungarian author Alfred
Lekete. The name of this film will be "The
Masquerade of Life" and will show the in-
dividual struggle for happiness, gold and love.
RUSSIA
One seems to ignore what is done in Russia
with respect to pictures. Since we heard of
Soviet Russia, we have not heard- very much
about the cinema industry there. I am informed
that during the months in which poverty-
reigned a society called "Russ" was formed
and different pictures made. All of these photo-
plays deal more with Russian customs and
habits than anything else and are consequently-
very characteristic. I have secured some pic-
tures of one of these films which is called
(Continued on page 81)
Film Gaumonl K .burtl
Above, a charming bit from
the French historical photo-
?lay "La Bouquetiere des
nnocents." Left, atmos-
phere from "Les Opprimes"
showing the charming old
Guild Halls of Belgium.
Below, Asta Neilsen, whose
"Hamlet" we know over
here, in a German picture
called "The Downfall"
A typically Russian
group from the Russian
film "Polikuschka" made
from a story by Leon
Tolstoi
(Tzventy-five)
r
V ,
~z.
s
/z
Photograph by Edwin Bower Hesser
TRILBY
Andree Lafayette is a young French cinema actress who was brought
to this country by Richard Watson Tully to play the title role in
"Trilby." Gerald Du Maurier, son of the novelist and naturally familiar
with his father's conception of Trilby, has declared her the ideal type
for that ill-fated heroine. She does look like the familiar Du Maurier
drawings. Another claim to distinction this talented girl has is that
she is a direct descendant of General Lafayette
(Twenty-six )
Little Old New York
By PATRICIA DOYLE
A story of early New York days when Bawling Green was a park and lower Manhattan was a resi-
dential district; and Robert Fulton was about to launch the first steamboat; and names like John Jacob
Astor, Cornelius Vanderbilt. Henry Brcvoort and Delmonico were just beginning to mean something
T]
'HIXGS do be comin' too thick and fast for this
owld mon." opined John O'Day, lifting his bent
back from the peat bos* from which he had been
cutting poor man's fuel in big square clumps. "Whist
now, Alannah. howld yer peace. I'll be \vi' ze."
Dancing up and down before him in a whirl of excite-
ment was Patsy, his daughter. Tears stained her cheeks
but laughter curled her lips. She scowled and smiled with
one motion. Only the Irish can do this.
"They do be taking all our things father — the sheriff
and the landlord and two dirty spalpeens from up Darragh
way — your great big chest, father is gone — divvle a chair
to sit on or bed to sleep in will be left to us — haste
father "
"Mind yer tongue, lass." her father answered stepping
swiftly toward her. " 'Dirty spalpeen' and 'divvle' is
divvle a word for a lady to use. But what for are ye
smilin' whin such misfortune comes to yer owld father?".
"Oh this letter," Patsy answered waving a bulky en-
velope toward him. "It seems like good news but Pat
nor me — nor I — cant understand it altogether."
And good news it was; just in time too for all sorts of
reasons. John O'Day's brother had died over in America,
which was no particular loss to John for they had been
estranged for a great many years. But his brother was a
rich man and he had left all his vast fortune to John's
son Patrick; instead of leaving it to his second wife and
her son who had come between the brothers long ago, and
(Twenty-seven)
for whom old John cherished a deathless enmity. This
was mighty good luck for John; for John had fallen foul
of the world of wealth and ease and had spent his life in
impracticable dreams of Irish freedom and Irish progress
and with typically Irish sentiment had overl' oked en-
tirely his own freedom and progress. Ireland must be-
free, but it didn't matter so much that his children were
often close to starving and cold with neglect. Patricia
was a hardy youngster and had survived but Patrick who
was ailing from birth was now a helpless invalid.
O'Day's household goods meagre tho they were, were
to be sold at auction for his debts on this pleasant summer
day in the year of Our Lord 1820. With the arrival of
the letter from Xew York he let them go cheerfully.
Lamentations were turned into rejoicing and for the first
time in John O'Day's life some practical plan was
on foot for hastening them to America. They had need
for haste, because by the terms of the will which provided
that in the event of the non-appearance of Patrick ( ►'Day,
the money was to revert to his stepson. Larry Delavan.
the time had almost e'apsed for claiming the fortune.
Unfortunately much valuable time had been lost while
the lawyer had dug them out from their obscurity.
Larry Delavan stared suspiciously at the two figures
who stood somewhat dubiously before him in the hall of
his spacious New York residence.
CLASSIC
Larry Delavan stared suspiciously at the two odd figures before him. "We be John
O'Day and his da — son, Pat," the old man muttered, "and we've come over the sea
from Ireland to claim yer stepfather's fortune. I hev all the proofs in me coat. What's
to do now?" The younger one only stared back
"We be John O'Day and his da — son, Pat," the old
man muttered, "and we've come over the sea from Ireland
to claim yer stepfather's fortune. I hev all the proofs
here in me coat. What's to do now?"
"Good Lord ! I dont know," ejaculated the young
Delavan ungraciously, shaking a mental fist at this malign
trick of fate's that had cheated him out of his stepfather's
rich inheritance at the last minute. "I suppose you'll have
to stay here. I'll have Reilly show you to a — to your
room."
"Father," cried the young Pat bursting into tears when
they were safely behind the door, "I can never do it.
You shouldn't have asked me to — Such a handsome young
man — such a fine gentleman — and it's really his money.
We haven't any right to it. We "
"Howld yer tongue," John O'Day interrupted angrily.
"Is it our fault yer brother Pat died on shipboard? God
rest his soul !" he added hastily blessing himself piously.
"He's better off all dead than half dead, Patsy child, ye're
after knowin' that. Yer uncle's yer own ain't he? Blood
kin? We're entitled to his money, but even if we ain't,
we be going to claim it. So now ye are Patrick O'Day,
nephew to the late lamented. Whin ye git the money ye
can do as it plazes ye. Come cheer up Colleen, no more
tantrums and bad scran to the Delavan !"
So here was a sorry situation, not to say perilous.
Unwelcome guests in an unwelcome masquerade. Un-
welcome masquer-
ade to Patricia
anyway, who
woman - like and
characteristically
Irish had Compli-
cated matters by
promptly falling
in love with the
handsome, sulky,
reckless Larry.
Being a boy under
the circumstances
was a handicap to
say the least . . .
but still if she had
stayed a girl she
wouldn't —
couldn't be near
him at all, which
fact somewhat
compensated for
the hateful
trousers.
It was hard re-
membering tho.
The im puisne to
snuggle against
Larry was at
times almost irre-
sistible, but boys
didn't do that. She
spent hours
brushing out her
short jonquil yel-
low hair whose
sacrifice she still
wept over in se-
cret. Boys cer-
tainly didn't do
that". She had
tried to smoke
too, one of the
long slender pipes
the young bloods
of the day were
affecting ; but it had made her fearfully ill and young
Fitzgreen Halleck and Washington Irving, Larry's cronies
had laughed at her and she had stamped her foot and run
out of the room. In retrospect it hadn't seemed a par-
ticularly virile or manly performance. She must be more
careful. Hang the old money anyway . . . Larry hated
her for an interloper.
But when old John O'Day begrudgingly died and she
was left utterly alone Larry Delavan had a change of
heart. He saw in her then only a helpless forlorn lonely
youngster in a foreign land, grieving for the only one who
was dear to her. He was kind to her then, and Pat came
so near to giving herself away that she was on the point of
confessing the truth a dozen different times.
But it was wonderful to have money. It provided
endless entertainment and after her first tearful grief Pat
began to liven up again and be her own cheerful saucy
dare devil self. Larry was her gravest care. He spent
most of his time gambling and drinking, attending prize
fights and balls with equal ardor. There was one mincing
miss just home from London that Pat hated with all her
heart. Her name was Ariana de Puyster and Larry
loved her — or at least Pat thought he did. She played
the piano, "Maiden's Prayer" and "Hearts and Flowers"
and that sort of thing. Very sentimental. Larry seemed
to like them tho. So Pat unpacked her harp that she
hadn't touched since she had left the old country.
(Twenty-eight)
She used to ^ihk in a sweet throat) soprano
"I he harp that once thru I ara's halls
The soul of mu>iL' shed ;
Now hangs ai mute on rara'a walls,
Vs tlio that soul were dead."
She really played it remarkably well and she had an
inexhaustible repertoire ol old Irish ballads and folk
songs, plaintively melancholy, as her countrj and its
people are at heart, for all the comic opera Irishmen one
reads and hears about. Sometimes she would twang the
strings suddenly and unexpectedly into one of the rollick-
ing Irish jigs. Every me loved Pat but no one could ever
tell what she was going to do
next.
Larry seemed to like her
playing too. Because, once
when Miss Betty Schuyler
whom Pat also detested, was
giving a party at her big house
across the lawn from Larry's,
and Ariana was playing sweet-
ly on the piano for the assem-
bled guests in general and
Larry in particular. Larry had
sneaked back across the lawn
to listen to Pat playing her
wistful Irish melodies and
hoping he would come. She
almost told him that night. He
stood at the gate looking very
hard at her and she trembled
inside scarce daring to breathe.
"You're a queer one, Pad-
dy." he said, "nice little kid.
I'm awfully fond of you."
And "I love, love, love you."
Pat's heart was sighing so loud
she thought he must hear it,
and blushed and ran away.
"Just like a girl !" she
thought afterwards. "He's just
stupid not to know it." But
Pat was afraid now for the
falsehoods she was involved in
and held her peace as best she
might.
At about this time Robert
Fulton was going to launch his
first steam boat. Wise heads
wagged and said it couldn't be
done, but the reckless foolish
ones were crazy to invest their
money in the venture. Larry
Delavan was one of these.
The only trouble was he didn't
have any money to put up.
Whereupon Pat gaily hood-
winked her lawyer, old John
Jacob Astor into giving her
ten thousand dollars, a goodly
sum for those days, and
promptly offered it to Larry.
To Larry's everlasting credit
and Pat's intense chagrin he
refused to take it. She almost
wept. "Such a pretty trick
I played on old Astor, to get
it," she wailed. "Neat as
Sunday pants. And now you
go and act uppity. You're
a hateful old thing and I —
"Why Paddy, boy," the bewildered I ai
"I didn't knOW you fell ll
wh.it I'll do i live iik- five
boi i iw ii i"i five days an. I
A. mi can have it to keep," said Pat, beaming again,
"No," replied I air) 'You • ly, a big
been arranged rver in the tin- house between Bull)
Mi- wster an<l a man called the Hobokei
beast, hut still Bully Bop has training and skill on hii
side, 1 think he'll win hut tin- heavy bettii
other one. I'm e ting to bet on Bully Bo) and I'll
that ten thousand »ur<\ Yoti'ie a great one j 11 - 1 •
Bfer it to mi'. Better give it back to Mr. Astor like
He stood at the gate looking very hard at her and she trembled inside
scarce daring to breathe. "You're a queer one, Paddy," he said "nice little
kid. I m awfully fond of you." And, "I love, love, love you!" Pat's heart
was sighing so loud she thought he must hear it
' Twenty-nine)
CLASSIC
I
With one twist he tore the flimsy silk shirt half off. "Stop!" screamed Pat, "Oh, stop!
I'm a girl." "What the hell?" burst from the amazed Terror who stood stock still
staring at her with his mouth hanging stupidly open
•a good boy." And he patted her affectionately on the
shoulders.
"You darling, you darling," Pat's heart was saying this
time but she had to be content with Larry's decision.
"Now Reilly," said Pat on the night of the big fight
in her most wheedling tones, "I'll buy you a pound of
your favorite tobacco if you'll do something for me."
"Shure an' I will, gossoon," old Reilly replied "whativer
it may be.'
"You've promised," said
around the old man's neck.
"Whist b'y," said Reilly,
"another hug like that and
this old man will turn up
missing. Well, what div-
vlement is it now you're
after wantin' to do?"
But he looked doubtful
when Pat told him what
it was, and the bribe had
to be doubled, and it took
all Pat's coaxing and ca-
joling powers, which
heaven knows, were prac-
tically irresistible, before
he finally gave in.
In the spacious fire-
house was a mob of im-
patient men. A prize fight
was an event in those days
of comparative calm.
Bowling Green was a
park, lower Manhattan a
residential section, the fire
house a rendezvous for all
the young gallants in town
Pat and threw her arms
LITTLE OLD NEW YORK
Fictionized by permission from the Cosmopolitan
production of the adaptation of Luther Reed from
the stage play of Rida Johnson Young. Directed by
Sidney Olcott and starring Marion Davies. The
cast:
Patricia O'Day Marion Davies
John O'Day ; J. M. Kerrigan
Larry Delavan „ . . Harrison Ford
Robert Fulton ' . Courtenay Foote
Washington Irving Mahlon Hamilton
Fitzgreen Halleck Norval Keedwell
Henry Brevoort George Barraud
Cornelius Vanderbilt Sam Hardy
John Jacob Astor Montagu Love
Mr. De Puyster Riley Hatch
Reilly (Larry's servant)... Charles Kennedy
Bunny (The Night Watchman) ... Spencer Charters
Bully Boy Brewster Harry Watson
The Hoboken Terror Louis Wolheim
Delmonico Charles Judels
Ariana de Puyster Gypsy O'Brien
Betty Schuyler Mary Kennedy
Rachel Brewster Elizabeth Murray
Chancellor Livingston Thomas Findlay
Mrs. Schuyler Marie R. Burke
— Larry of course and his pals in their long tight trousers
and frilled shirt fronts ; farmers in their wrinkled smocks ;
young toughs in short black- velveteen jackets handker-
chiefs tied around their throats ; coachmen in their coats
with many little capes cracking their whips; firemen in
their quaint impractical uniforms ; a varied and motley
throng of men.
The two fighters were at it, pounding bare flesh, punch-
ing and jabbing, responding to the cries of their various
backers with fresh aggressiveness. Larry Delavan was
unhappy. Brute strength
was triumphing over skill.
The Hoboken Terror had
floored his man twice now,
but Bully Boy had not
taken the count either
time. He was badly
winded tho. Looked like
a sure thing for the Ter-
ror. Bully Boy couldn't
stand up under it much
longer. He would give out
in another round.
But there never was
that other round.
Suddenly with its clang-
ing warning the fire bell
had rung out. The Ter-
ror held his hand. Bully
Boy straightened up. The
crowd began to scatter
getting out of the way.
The firemen sprang to
their clumsy equipment.
The fight broke up with
no decision. The crowd
(Thirty)
surged to the street Everything was read) Bui :
was no fire. The dazed crowd suddenly knew itself sold
It was a false alarm. Hut who had run^ the lull
* 1 1 "> that Delavan am! lu- crowd, I'll bel a hat1"
suddenly bellowed the >1 one of the rerror's
backers, "lit- had money on Bull) Boj
"Delavan, Delavan," the crowd began to yell, thirsting
for vengeance on the man who had spoiled their sport.
'I'll horsewhip the ." snarled tin rerror, "for
stealing my fight."
"Tii tlu- whipping post," roared the crowd ami following
tin- burly form of tin- llobokcn Terror they tore down the
street to I arry'a house
\a for that young man he had been overcome b) t
terrible suspicion at the first -omul of the lire bell. He
hurried home, hut he did not get there first.
\t the sound <.<i the terrttic commotion outside the house
Pat opened the front door to confront an angT)
mob.
"Out of the way boy," the Terror
cried threateningly. "We wants young
Delavan."
"What iU^ you want him for?
said Pat standing her grouni
but turning pale.
"None of your damn
business." answered one,
and "he rang the tire bell
and stopped the tight."
cried a dozen voices.
"No," said Pat
throwing her head
back as if for air.
"He didn't ring it.
i did. I hid in the
tower on the stairs
leading up to the
bell. I could see
you righting. I —
I — wanted — any-
wav. I rang the
bell."
"Of all the
bloody impi-
dence," thundered
the Terror. "I'll
beat the hell out o'
you, vou young
whelp'!"
He seized the
terrified Pat and
rushed down the
street with her slender
body flung over his
shoulder like a sack, the
crowd pounding at his
heels yelling like the pos-
sessed. On the whipping
block Pat was tied to a post,
hands high up over her head
The Terror stripped to the waist ^
with great drops of sweat glistening
on his coarse hide, his undershot jaw
thrust forward like an angry bull dog
stood beside her with a long
black whip in his huge hand.
Pat closed her eyes. The long
curling leather whistled thru the
air and cut deep into her tender
flesh. She shrieked aloud with
pain. Once more the cruel thong
marked its length across her
back.
Later, in the garden, Patricia murmured
something about the luck of the Irish.
"And anyway," she added, "the money is
just as much mine now as tho it was really
mine." Which cryptic utterance Larry
seemed to understand very well
"Tak< shirt," bawled the crowd, bi i hut
The I ei roi started to ibe) 1 1<- untied Pal
hands and she Staggered and would have fallen but
hi in i and thrust her uprighl once more With
twist he tore the flimsj silk shut hah
"StOp!" -lie. lined I 'at "(lh, stop I I'm I girl!"
"What the hell'" burst from the ama/ed Perror who
stood stock still i n a moment his mouth hanging stupidly
open.
"So much the better," he said at last. "There's other
of dealing with a girl."
Me made a grab for her and the dum founded crowd
n to rumble a dissent Just then I ai i \ and Ins friends
broke thru the mass surrounding the whipping posl With
■ me blow lie kn >cked the surprised 'I efTOr flat and picking
up Pat carried her home, while bis friends laid about
them with their canes with a righl good will.
Larry's suspicions were well founded lie had
il the details from the trembling old Keilly
and had come tearing like mad to the
whipping block. \s long as he lived
!e would never forget that terror
struck cry, "I'm a girl!" He
looked down at the white tear
stained face on his shoe
and a wave of tender-
surged up thru the man
ike a tlood-tidc. "]
what a fool I've been,"
he muttered, "what a
blind fool." He bent
and kissed the pale
curved lips. ( It is
never too late to
acquire wisdom or
to rectify one's
t mistakes, i Pat's
lips trembled and
grew red and
warm under his.
I ler eyes opened.
"Well," she
said in amazing-
ly calm tones,
"what are you
going to do with
me now-"
"Good Lord. I
dont know !" an-
swered Larry kiss-
ing her again and
fairly blushing to re-
member how he had
said the same thing
once before.
But it was not what
Larry intended to do with
her that was serious. It was
what the Town Council would
decide. For the Town Council
had taken the matter up. It wa>
a serious offense t:) ring the fire bell,
t was equally serious for a woman
to masquerade as a man. Besides, a for-
tune had been acquired under
false pretenses. (irave. ver\
grave. The Town Council shook
its heads over the affair. It was
a clear case certainly. The cul-
prit must be punished. The only
drawback to the pursuit of jus-
tice was the culprit herself.
( Continued on /
(Thirty-one)
GLORIA SWANSON
A drawing by Hal Phyfe from a photograph by Edwin Bower Hesser
(Thirty-two)
At Lunch With Gloria
By JEFFERY CARTER
An interview with the most individually dressed woman <>n the screen, wherein
request, her clothes aren't even mentioned and her undeniable bi tins are given a chance to air
WE ii the curb outside the studio and de
bated concerning the noi nday repast. The press
.cut had some >ort of a visionary nk;i aboul a
place in Hollywood where they had -crawly things
painted en the wall. He was ignored with a proper tneas
ure o! contempt. Some one else suggested the Writers'
l~lul>, the Athletic Club, some more clubs, a hotel fre-
quented l>> movie stars, another hotel' not frequented by
movie stars, somebody's private house and a hoi dog
wagon.
Gloria stood apart, with pursed lips, as one struggling
with a responsibility. Suddenly she brightened. "Oh
yes," -he -aid, "That would be nice. We'll go there
Come on."
The nice place turned out to he the Writers' Club
\ year or the literati of Hollywood and way
stations bought a fine old private house on Sunset Boule-
vard and turned it into a most charming club. The place
where you eat is a great cool room with vaulted ceilings
and widely scattered tables and pattering little Filipino
servants in white duck.
Cdor"ia started to sit down, then changed her mind and
moved over to a far table. From the expression on her
face it was plain that somebody in the dining-room was
having the most famous back in the world turned on him
— or- her.
"Whatever you write about me." she said, picking out
the salad fork. "Dont say anything about my clothes."
"What's the matter with the clothes'"
"Nothing is the matter with my clothes," -aid Gloria
indignantly, glancing at the fur wrap she had thrown
hack over her chair. "But I am tired of having people
Stall to talk about Gloria ami end b) talking ah.. ut
clothes. ne ha- called me < ceil de Millr-
llOl -
"I ,<it- of girls would he glad 'beg
"True enough." said Gloria, taking th<
hi- mouth. "I can remember when it would have g
me a thrill t<> have had my clothe- talked about,
summer in Paris I wa- in one of those big dressmaking
salons with a young regiment of designers and manikins
dancing attendance. It suddenly came to me how I
to -it up nights trying to do something to my one cheap
little dres> to make it last another season. It mad.
laugh out loud."
" \re you any happier ':"
(iloria considered. "What - the use," -In- -aid at last.
"of thinking whether you wish ybu had or you wish you
hadn't. When the chicken i- once out of the egg,
out of the egg. You cant return to any condition that
has passed. It is futile for me to try to think whether I
am- happier now than I would have been if something
■1st* had happened — or hadn't happened.''
Gloria savagely jaSbed her salad fork int" a lettuce
leaf and a cruel little sneer came into her eyes ... a
look that faded into one of wistfulness. "The trouble
is," -he -aid. "that you cant succeed in the world without
ming public property. I wonder why those rotten
little scandal sheets cant let me alone. If what they said
were true. I wouldn't complain. But it i- terrible. I
haven't any private life. They tell me if I sued them for
libel, they would only he worse.'' The look of a fighting
Swede came into Gloria's eye.-. "If it weren't for my
baby, I would ..."
This picture is from one of Gloria's not particularly recent photoplays but we have
used it because it seems to us to represent more perfectly than we can put into words
the gorgeous luxuriousness and alluring beauty of this radiant woman
Thirty-three)
Nobody found out just what she would do
"At any rate, you wouldn't want to go
back and be a Sennett bathing girl again. . . ."
Gloria looked up suddenly. "I learned a
lot from being a Sennett bathing girl."
"About swimming?"
"No. About acting. Comedy is a won-
derful training. You have to get the points
over so clearly. You exaggerate everything ;
but in exaggeration, you learn just where
the finished line has to go. Afterward, when
you undertake another kind of acting, you can tone
down your effects. It's like these artists who draw
pictures with a few dabs and lines. They only learn
to do that after they have mastered the art of the
finished picture. The art of leaving out is the last
touch you learn."
Gloria smiled at a recollection that flashed across
her memory.
"I remember when I left the Sennett comedies.
There was just one day too many of dodging pies
CLASSIC
and being hit with water from hoses and going
around bare legged. I simply walked out. Then
1 came over to the Lasky studio. Mr. Cecil de
Mille saw me and gave me a part in 'Male and
Female.' The first thing I had to do was to take
off most of my clothes and scramble into the water
again. I thought I had left the frying pan for the
fire."
"But you learned about acting from Cecil."
"Indeed I did. I learned that the way to act is
not to act. I learned that the less you actually do,
the more you convey."
Suddenly, out of a clear sky, Gloria remarked :
By way of a
pleasant contrast
to the picture on
the other page
are these three
informal studies.
We call your at-
tention to
Gloria's remark-
ably large and
expressive eyes.
We hope you are
reading this in-
terview because
Gloria's honeyed
tongue has
dripped words
of wisdom
worth anyone's
attention. In
her ornamental
head is a brain in
perfectly good
working order
"I wish they would cut out the villains."
And answering some one's question,
she said, "There aren't really any vil-
lains ; we are all villains ; it's the same
thing."
"Oh yes, perfectly clear."
"Well," she laughed. "I mean no one
is a villain all the time. I dare say a lot
of bandits are faithful, tender husbands.
We are all villains Monday morning and
saints Monday afternoon. There is no
such thing as a good man or bad man.
There are simply men who re-act differ-
ently to different situations."
"Well, us authors must have our vil-
ains.
"It isn't the authors," said Gloria glar-
ing back over her shoulder at a long
(Continued on page 75)
(Thirty-four)
Photograph by Ira L. Hill
IDOL WORSHIP
Here is the beauteous — we never can resist putting "beauteous"
in front of Betty's name — Blythe sitting on the mantel like a
parlor ornament or an east Indian idol . . . well . . . we'll fall
down and worship Betty any time she will let us. She has started
work on her fourth Whitman Bennett production. Wish we were
a Kleig light ... or something. . . .
(Thirty-five)
The Heavy
Ernest Torrence, the screen's most villainous
villain tells his story
to
JANE H. LIPMAN
"One may smile and smile, and be a villain'
— Shakespeare.
Fhotograph by Melbourne Spurr, L. A.
Py^OR, "one may smile and smile, and be a villain!''
IH So said Billy Shakespeare long, long ago — and
the words were echoed by Henry King, the suc-
cessful motion picture director of "Tol'able David,"
^nd other large productions in Hollywood, as he sent
for Ernest Torrence, prominent comedian of musical
comedy farne in New York.
Thus a wonderfully fine comedian was submerged by
the cruel and domineering heavy of "Tol'able David,"
and Mr. Torrence planted himself firmly in the depths
of motion picture endeavors.
"It had always been my dream, my greatest desire.
from the time of my arrival in America in 1911, to
enter motion picture work," said Mr. Torrence as we sat in
his cozy Holly- ,
wood bungalow
and he explained
how the speaking
stage had lost a
fun-maker, and
the silver sheet
gained a heavy.
"My constant
entreaties to mo-
tion picture di-
rector friends at
the Lambs Club,
and in other
theatrical circles.
were all laugh-
ingly brushed
aside. 'Entirely
too tall,' said one.
'You wouldn't
film well at all,'
said another —
but I kept nag-
ging and urging
for even an extra
part, a simple
film test, to prove
At the top of the page is Ernest
Torrence as he really is. Above as
Emilio in "Singed Wings" and left a
character portrait. This man made the
astounding leap from musical comedy
comedian to the heaviest of screen
villains. For this sort of thing he is in
constant demand
(Thirty-six)
CLASSIC
either my failure 01 .1 possible chano
success. Bui words and prayers fell on
deaf ei ns. ami I continued to wik in
musical corned) on Broadway Bj then
I had begun to feel m) constant insistence
u;is perhaps after all, useless.
"Then came Mr. King's proposition. I
was more thrilled than words can exj
I was to be given 1 chance in pictures
1 mere extra, bul a real pari in whal
Mr. King assured me would be one of the
est films oi the year Imagine my
chagrin, my feeling of utter despair when
mj director friend calmly announced my
role was to be a very heavy, dramatic one!
I felt almost afraid. 1 was outwardly
calm, however, and as many other men
and women have nut the great turning
point in their careers, 1 also met mine.
I feel now that my 'villain' in my first pic-
ture was a go^nl. solid answer to any fears
I may have had that my sense of comedy
would overshadow the opposite emotions
and passions 1 had to throw into the char-
acterization.
"I was afraid my former work would
hinder me." Mr. Torrence had told Di-
rector King during the filming of Tol'able
David. Mr. King's answer was an ex-
pression of the firm belief that before a
man can be a real actor he must have
been a comedian.
"As I see it now," continued Mr Tor-
rence, "Comedy and Tragedy are but twin
souls in the art of acting. It is only a step
around the corner to go from a laugh-
provoking old character into a hateful,
despicable one."
Just before Tol'able David was shown
at the Strand Theater in Xew York, Mr.
Torrence, who had then returned from
Hollywood, was considered for a heavy,
dramatic role, in a film starring John
Photograph by Clarence S. Bull
Ernest Torrence in his first screen role, the most depraved
of the unspeakable Hatburns in "Tol'able David," an ex-
traordinarily vivid character interpretation. Below, as that
endearing old good-for-nothing Mahaffy in "The Prodigal
Judge." He is now playing Clopin in "The Hunchback of
Notre Dame"
1
Barrymore. but the director con-
cluded that because of his unction
as a comedian, be could never be a
successful dramatic actor.
"I hope he attended the opening
performance of Tol'able David."
said charming, little Mrs. Torrence,
who had sat quietly during our in-
terview. "I was actually afraid of
the man Ernest seemed to be on the screen.
I had always known him as such a jolly per-
son, you know."
It is indeed hard to realize the real Er-
nest Torrence is the bad man we see in the
films. In several pictures, however, he has
portrayed rather lovable characters, as
"Mahaffy," in "The Prodigal Judge," a
Vitagraph picture made in New York, and
"Emilio," a half-witted clown in "Singed
Wings," a west coast Lasky production.
"We have just finished what I think will
be the biggest picture of the year," Mr.
Torrence remarked, referring to the Para-
mount special, "The Covered Wagon."
"In this film I am seen as a very "bard-
boiled egg,' as they say, but as I am on the
{Continued on page 77)
(Thirty-seven)
Hollywood Homes
Views of the house and gardens of the beautiful California home of
Mr. and Mrs. Charles Ray— and "Whiskers"
In the upper left hand corner is a bit of the "rest porch" in the rear,
overlooking the bathing pool, the charming little tea house and the
gardens. The floor is of smooth glazed tiling. Upper right, Mr. and
Mrs. Ray and their inseparable companion, "Whiskers." Below is the
front elevation, charming in its dignity and simplicity
Photograph by J. C. Milligan
The Bathing Pool
This lovely spot is a corner of the magnificent bathing pool
which seems to be a necessary part of all these beautiful
estates. The rear of the house is shown and the garage and
a little glimpse of the extensive and picturesque gardens.
An air of well-bred contentment broods over this picture.
We cant imagine anything but charming things happening
here, like lawn parties and moonlight bathing parties and
graceful lolling in the sunshine and shade. We vote this
view the pleasantest of all. Next month Classic will show
you Norma Talmadge's new house, interiors and exteriors
(Thirty-nine)
A Song
Of The Screen
Pictures and Verse
By DOROTHY ROSECRANS BRIGHTON
Two young birds that bill and coo
As no birds of our ken do,
Always herald love's young dream
— Upon the screen
And the sunny-curled young thing
Dances playfully in the spring
As the hero comes in view
— Upon the screen
When the young wife's sore and quits.
Baby son develops fits,
Crying "Doesn't ma love pa?'"
— Upon the screen
Mothers totter, frail and white,
Reading Bibles all the night,
Waiting for the wayward son
— Upon the screen
When the villain's work is o'er
He's not wanted any more,
A violent death's the thing
— Upon the screen
Artist always wins the'prize
Just before his child-wife dies
And they sail for sunny Spain,
— Upon the screen
Cast upon a desert isle
Marceled cutie spends a while
Learning butlers are real gents
— Upon the screen
Situations like these are
Much more plausible by far
Than some others you may see
— Upon the screen
And the reason, critics say
Js because draw-mah today
Is still in swaddling clothes
— Upon the screen
This may all be very well
But, poor devil, try to sell
Any movies unlike those
— Upon the screen.
(Forty i.
i
Half
Chinese
and
Wholly
Lovely
By BARRETT CLARK
Photograph by Grenbeaux
SHE says it was her
French mother who did
it.
In which case 1 am in
favor of giving Alsace hack
to Germany and burning
down the statues of La-
fayette.
For of course her name
should have been something
in Chinese that sounded like
Limehouse Nights stories
. . . something about scar-
let petals and silver rivers
. . . something about white
almond blossoms and rose
leaves. I know a dark
smelly little dump down in
Chinatown where the cock-
roaches gambol and frisk
around the tables ; and they
call the place. "The Abode
of Ten Thousand Jewels."
And then they had to name
this lovely peach blow half-
caste girl "Etta Lee."
Well, it's discouraging.
But anyhow she can cling
to the distinction of being
the only Eurasian girl in
the fillums. Every once in
a while, in this picture or
that, you see a willowy,
lovely oriental girl go slip-
ping thru a scene like the
memory of a dream. That's Etta Lee (whose name ought
to be something in Chinese meaning The Breath of the
Dawn).
She was the Chinese girl in Katharine McDonald's
"Infidel" (about the worst picture ever made in the world
by the way). She bad a little part in Constance Tal-
madge's "East Is West" and a better one with Ethel
Clayton in "The Remittance Woman." They almost
gave her the part of the Mandarin woman in "Java Head,"
but abandoned the idea because she had had so little
experience.
Miss Lee lives in a cute little apartment on the opposite
rim of Los Angeles from Hollywood. She burns punk
sticks and somehow contrives' to give the impression of
old bald priests in far-off Bhudda temples out beyond
Every once in a while, in this picture or that, you see a willowy, lovely oriental
girl go slipping thru a scene like the memory of a dream. That's Etta Lee (whose
name ought to be something in Chinese meaning The Breath of the Dawn)
the edge of the morning . . . of passion (lowers growing
in the walls of forgotten ruins . . . cherry trees blooming
on the banks of the Chinese rivers . . . old jade . . .
smoke rising in slender mauve spirals against the black-
recesses of old altars. . . .
But otherwise, she isn't at all Chim -
The sad and unromantic truth is that the fair Ktta is a
high brow young lady with a university degree and a
teacher's certificate. She knows more about Maeterlinck
than. Confucius, more about lip sticks than Tao. Her
father was a Chinese physician, her mother a very charm-
ing and well educated French lady. She spent her girl-
hood in California where they gave her a university edu-
cation. Then she went to Hawaii to teach school to
i Continued on page
I Ft. rty-one)
Frank Lloyd's Jackie Coogan
By FAITH SERVICE
THE Classic-
editor said to
me in her cus-
tomary heartless
fashion of a step-
mother to an ugly
duckling: "Go and
see Frank Lloyd.
In the altogether
possible contin-
gency that you
dont know that he
directed the Coo-
gan 'Oliver Twist'
I shall enlighten
you ; and I want
you to find out so
far as your feeble
powers will permit
just what he thinks
of Jackie, just
what he thought
about him, day by
day, in every way !
I dont. remember,
care in the least
what he thinks
about you, and
assuming that he
does find the time
to give you a
thought I shall not
print one single
word of it. be it
flattery — or fact."
You can put
any construction
you please upon the
above asterisks.
They're often
used, you know, in
cases of compul-
sion like the one
cited above. Mrs.
Glyn uses, 'em
'frequent.' too . . .
However, think
your own thoughts
Photograph by Witzel. L. A.
A late portrait of Frank Lloyd, whose sympathetic comprehension of the
genius of Jackie Coogan made possible that beautiful photoplay "Oliver
Twist." Mr. Lloyd has just finished directing "Within the Law" for
Norma Talmadge. He invests his productions with humanity rather than
sentimentality, a rare and invaluable quality for a motion picture director
to possess
some of you will be right.
"Tell me about your Jackie Coogan," I said.
Director Frank Lloyd looked as tho the subject pleased
him hugely. He leaned forward, clasped his hands, and
his smile was almost tender. It was a smile that was
good to see. One could tell that he was thinking not
only in his directorial capacity of "Oliver Twist," but
also about a little boy of whom he is paternally fond,
and of a great artist to whom he would seek to pay
tribute.
"Jackies doesn't belong to any one person," Mr. Lloyd
said, "he belongs* to the world. He has a great soul. He
is not a child prodigy. He is not precocious in the way
that word is usually meant. Jackie is utterly natural, abso-
lutely spontaneous and wholly unconscious and unforced.
"I didn't realize
until we were thru
with 'Oliver
Twist' what a
great artist Jackie
really is. You
dont realize it, be-
cause he is so
natural. You never
feel that you are
directing him.
You never feel
that he is acting
. . .he isn't, as a
matter of fact, he
is wholly feeling.
"Jackie's great-
ness is in his in-
tuitive under-
standing — and in
his eyes. He has
the most extraor-
dinary eyes I have
ever seen. Every
grief, every joy,
every emotion and
shade of emotion
are mirrored in
those great eyes.
The rest of his
face is just like
thousands of other
children.
"But put the
idea out of your
mind, if it is there,
that Jackie is 'old.'
He is thoroly a
child. He prefers
to play with chil-
dren, and when he
plays with them he
plays honest-to-
goodness kid
games.
"He has, for-
tunately, the right
kind of parents.
They are bright,
simple people, who love him to death, of course, but who
keep him unspoiled and a child. They dont pamper him
and they dont allow him to become impressed with his
own importance. He has no conception of it at all, and
I have seen him shrink away from crowds or from re-
porters or interviewers who approach him as Jackie
Coogan, Screen Star. He is a little boy and he prefers
to be met upon his own little-boyish ground.
"Jackie will go on . . and on . . . Some child
'prodigies' go so far and then stop, but Jackie, as I have
said, even tho it seem paradoxical, is not a child prodigy.
He is a genius and he 'has it.' There will come a time,
perhaps, when for reasons of education and because he
will have reached the awkward age, Jackie will leave the
screen for a short while. But he will come back again
and the man will fulfil the boy. I know that.
"Before we began to make 'Oliver Twist' Jackie was
(Forty-two )
I kf
crai) foi an electric train ami tracks. He
has never had one lit-- father told him that
if he would be ■ (,r"(U' hoy during the Rlra
ing of the picture and concentrate ver) hard
that when we were finished he would jive
him the train. But 1 beat his father to it.
When we won- finished I boughl him the
train and one afternoon I invited him to my
hiui.se without telling him that I had it foi
him. He came with his grandmother and
when they arrived and he saw the tracks
all spread out 00 the floor he thought that it
belonged to my little girl with whom he often
plays and that she had got one first. But
when 1 told him it was for him he simply
dropped to the floor beside it. utterly iost and
absorbed. His grandmother prodded his
politeness. "Jackie," she said, "what do
you say to Mr. Lloyd?" Then Jackie paid
me a most tremendous tribute. He looked
up at his grandmother for a moment with
those great and grateful eyes and said,
simply, "Oh, grandma, what can I say?" and
then turned back again.
"That is Jackie. His emotions are au-
thentic. He never exaggerates or pretends.
His small body is all child, but it houses a
great soul and thru the clear, miraculous
windows of his eyes that soul shines surely
thru. One may spend a casual afternoon with
this child and discover nothing at all remark-
able about him, nothing at all that dis-
tinguishes him from any other bright
Photograph by
Edwin Bower Hesser
"Jackie," says Frank Lloyd be-
lying the title, "doesn't belong
to any one person. He belongs
to the world. He has a great
soul. He is not a child prodigy.
He is not precocious in the way
the word is usually meant. He
is utterly natural, absolutely
spontaneous and wholly uncon-
scious and unforced. He is a
great artist"
youngster, no evidence of precocity ;
but one could not work with this
malleable little bit of eager humanity
for any length of time without label-
ling him genius. It would be to
stultify one's intelligence otherwise."
This then is Frank Lloyd's opinion
of Jackie Coogan. Frank Lloyd him-
self is a man of acute perception and
unmistakable discernment. He has
been directing pictures for a long
time and has watched the progress
of stars with an impartial eye. He
is accustomed to weighing genius in
the balance, and when he says that
Jackie has it — well . . . His opinion
of me, the Classic editor has refrained
from printing as she promised.
(Forty-three)
Photopraph © by Nelson Evans
THE TRAGIC COMEDIAN
A very serious portrait of a great screen comedian, Max Linder, who is at
present in Paris amusing his countrymen
(Forty-four)
The Celluloid Critic
LAURENCE REID
Reviews the latest photoplays
A MAGNIFICENT achievement ia "Th< red Wagon"
I Paramount), which comes i<> the screen with a stirring,
vigorous account >>t' ;i bygone people the hardy pioti
.it '48. Here is -tark. vivid drama here is historj being recorded
in a gorgo>u* canvas of those adventurous the Roaring
Forties. Gigantic in conception and execution this superb tapestrj
transports one with its swift hurricane of events. It instills in the
spectator a genuine patriotism for liis country. He lives over
again the mighty purpose of these c lurageous pioneers who turned
their faces toward the setting sun with a cry of "Westward lln!"
Theirs was an adventure which dwarfs into insignificance anything
which had to do with the colonization of America.
One catches the true -pint of these people as they drove their
covered wagons thru an unknown country. They would found
an empire in the
West ; they would not
be denied in their
determination to gain
sanctuary and soil in
far-off Oregon. So
we live over their
arduous journey thru
the trackless wastes —
thru the prairies, over
the mountains — a
journey which took a
year to accomplish — a
journey which re-
corded but ten miles a
day. Think of it !
We clamber aboard
Ogle's wagon or
mount Kerrigan's
horse : the bugle
sounds ; the far-flung
wagons strike out and
the glorious adventure
is afoot. And what a
journey ! James
Cruze, the director of
this vital screen epic
— an adaptation of
Emerson Hough's
story, pilots us thru
stirring scenes
fraught with romance,
thrills and excitement. The suspense is
terrific because we are living over the
hazardous trip of these hardy tillers of
the soil. Danger is everywhere. Starva-
tion stalks in our midst. And it is staved
off when the buffaloes are sighted.
What an inspiring scene — this bison
hunt, one which might truly be called
an animated Remington.
But the biggest, individual thrill, the
most stirring moment arrives when the
Platte River is reached and the pioneers
face the first obstacle. To see them
fording this rushing river — the oxen and
horses plunging into the turbulent
stream and the wagons floated with logs
is a sight which is as inspiring as it is
exciting.
The Indians' circle of death is a
mum
m
KJ
1
Sr^ vi
ri',oto(jraph by Richee
Above, Jackie Coogan plays tailor in
"Daddy." Below, a long shot from
"The Covered Wagon" which is break-
ing all records for a Broadway run
Above, Percy Marmont and Ann Forrest in
one of the tense and dramatic scenes from
"If Winter Comes." Below, Aileen Pringle
and Jack Holt in "The Tiger's Claw"
Photi.frrart' ^> '■' l Rowley
*
(Forty-five J
Mabel' Normand in
the long looked for
"Suzanna," a de-
lightful picture of
early California
days. Mabel's in-
different compan-
ion is Walter
McGrail
Right, is a scene from
Rex Ingram's "Where
the Pavement Ends"
with Alice Terry and
Ramon Navarro; much
better than Rex's last
picture. Below, Milton
Sills and Anna Q. Nils-
son in "The Isle of
Lost -Ships," a Tour-
neur production
CLASSIC
panoramic shot of tremendous sweep — executed with
accurate color and detail. But the pioneers overcome
these dangers. They will not be stopped.
The picture carries a romance which balances the
westward march. And its intimate scenes are cameo
studies. There are adventurers, farmers, and gay
vagabonds who compose the motley throng. And two
of its most colorful figures are the scouts played with
fine sympathy and understanding by Ernest Torrence
and Tully Marshall. Watching them in a little friendly
play with fire-arms over their marksmanship kindle^
the imagination with the romance of the occasion. The
entire cast is highly capable. Each player is a true rep-
resentative of the type which he or she portrays. The
atmosphere is rich, the settings panoramic in their
scope.
In all "The Covered Wagon" makes just as vital
history in the picture industry as the pioneers did in
their hazardous journey. It lends a glamour of ro-
mance ; it is fraught with adventure and excitement. It
is a superb painting conceived on a gigantic scale — a
living, breathing, accurate page from history. It carries
color and movement and
vital action. And it ranks
with "The Birth of a
Nation" in its epochal
record of America in the
making.
Hail to Paramount's
screen epic — a reflection
of the motion picture at
its best.
1 W'
E leave the big
outdoors to be in-
troduced to the
screen reproduction of
A. S. M. Hutchinson's
idealization of the char-
acter, Mark Sabre, in his
remarkable study, "If
Winter Comes," which
Harry Millarde made for
Fox. While the salient
points of this book which
brings spiritual comfort
to the reader are brought
forth upon the silver-
sheet, it lacks the same
vital, spiritual flavor. This stylist is
difficult to record upon cold celluloid.
Chapters — many of them — must be
absorbed to catch the full meaning of
his characterization. Yet Mr. Millarde
has made a sincere effort to record
Hutchinson's idealization of Sabre. It
is a character study which embraces
three distinct romances in the life of its
lovable figure. He is caught in a mael-
strom of tragic consequences before he
finds a haven of happiness with a
woman who understands him.
The picture is wordy and long-drawn
out and rather episodic. But imagina-
tive spectators will discover many
moments of interest in it. Percy Mar-
mont is a good selection for Sabre and
enacts the character with a com-
mendable spiritual flavor. As there are
few dramatic opportunities the other
players may be excused tor interpreting
their roles with marked enthusiasm.
The feature is best in its atmospheric
(Forty-six)
-
CLASSIC
qualitj ll.u rv Millarde having taken his company I i
the t'x.ut locations in England to provide a backgn
«>t the charming countrj side.
RF.X INGRAM'S genius foi fashioning a moving,
colorful storj is manifested again in Metros
"Where the Pavement Ends." Here is an old
friend, the South Sea Islands formula, which has been
treated in such an artistic way that it never become-
conventional. It suggests the director at his best he
cause he makes an old pattern seem new.
Here we have the usual figures — the missionary, his
daughter, the vicious trader and the native lover. To
escape the abysmal brute the ^irl turns to the islander
who protects her. Perfectly ohvious? Yes, in cold
print, hut translated upon the screen its obviousness is
overcome by Ingram's dramatic treatment. What a
hrush he uses ! There is the colorful background carry-
ing a gorgeous design and against it is enacted a com-
pact little story acted to the queen's taste by Ramon
Xavarro as the native, Alice Terry as the charming
daughter of the dominie, and Harry Morey as the
brutal trader. It is in-
spiring and optically
pleasing. The very title
exudes romance.
Chalk another mark
for Rex Ingram.
ANOTHER Metro
attraction, "The
LFamous Mrs.
Fair," furnishes proof
that it occasionally pays
to have a real playwright
on the job. Here is
James Forbes's stage
play which met with un-
bounded success upon
the stage which comes to
the screen with its vital
parts intact. Telling the
story of the dissolution
of a family thru the
feminine urge to find ex-
pression, it sends forth
truthful slants on life.
The wife and mother
has her medals pinned
on her. And success and popularity go
to her head. Consequently she takes to
the lecture tour and during her absence
the house tumbles to pieces. The pic-
ture soars to a mighty effective climax
when the mother and father realize they
have sinned against their children. A
desperate search is made to save the
daughter from dishonor. Thru bring-
ing her back to her senses a reconcilia-
tion is effected and harmony reigns
supreme.
Good, sound philosophy and logical
drama are neatly dovetailed in this very
human story which is capitally acted by-
Myrtle Stedman as the mother who
learns that her place is in the home.
Marguerite de la Motte as the outrage-
ously modern flapper daughter, lends a
choice bit to a cast excellent in every
respect. Fred Xiblo has brought forth
all its vital plot and characterization.
It's a picture for thinking people.
(Continued on page 84)
Above, Pola Negri
and Conrad Nagle
in "Bella Donna"
an intensely thrill-
ing and dramatic
picture. The Negri
is gorgeous in the
title role
Left, Ernest Torrence,
Mary Miles Minter and
Antonio Moreno in
"The Trail of the
Lonesome Pine." Be-
low, Marguerite de la
Motte in a modern —
oh, very — beauty par-
lor. One of the scenes
from "The Famous
Mrs. Fair"
(Forty-seven)
Photograph
by courtesy
of Viola
Dana and
Metro. The
little Dana
makes a
mischi e -
vous Puck.
She just
would !
d
J
y
?
Q_
By
Miss Dana
was unani-
mously chosen
for the elfin
sprite for a
special per-
formance of
"A Midsum-
mer Night's
Dream" given
for the benefit
of the Actors'
Fund
IN the official bulletin of the Big / Brothers and Sisters to the
Motion Picture Industry, there / is a criticism of "Java Head."
It deplores the discrepancies / between the subtitles and the
subsequent scenes. "Twice or / more," says the complaint, "a ba-
rouche is called for, and what /turns up at the door each time is
a C spring Victoria !"
Of course it's all the / coachman's fault. If the subtitle had
read: James, I shall want / the C spring Victoria this afternoon,
we'll bet anybody a / ticket to "The Queen of Sin" that the
idiot would have brought around a D or a G spring. You just
can't trust them.
•b 4* 4«
___— - — — These inaccuracies will have to stop if the motion picture in-
dustry expects ever to have a decent numerical following. "You
shouldn't,"' so William Fox tersely has it, "make fools of all of the people all
of the time." Which is only too true. We were talking to a fancy fruit
dealer the other day. "Why Women Fall," said the F. F. D., "is a rotten pic-
ture. When the feller tempts the girl with an apple, he calls it a Red Astrakhan.
Bah ! Any boob can see it's a Newtown Pippin." So that's that.
Add to the dictionary of similes: as unfortunate as the choice of seats
offered by a movie usher.
4* •]« ■!•
Follows a song to be broadcast over the radio at the very next luncheon
of the A. M. P. A. It is released with a full heart. Alley — oop !
Mine eyes have seen the glory of the Cecil B. de Mille,
He is whanging out the super-stuff with all his force and will.
You Wouldn't think that there could be a nickel in the till,
But his roll goes marching on.
Chorus : Glory, Glory, Glory Swanson,
His roll goes marching on.
I have seen him gild the lily — seen him gild it good and gold.
And pack each smashing episode with all that it can hold,
We know it must lie Art because it knocks the public cold
And his roll goes marching on.
Chorus : Glory, Glory, Glory Swanson,
His roll goes marching on.
"If — er — personality counts for anything at all, Nita Naldi is easily
the most prominent actress on the silversheet today. The above sen-
( Continued on page 96)
(Forty-eight ■
J
The
Photographer
Takes the
Stage
VhotoRtarti by White Studios
Above are Joseph Schildkraut and Louise
Closser Hale in "Peer Gynt"— Schildkraut
as the young Peer and Miss Hale as Mother
Ase. Below, Lionel Atwill and Elsie Mackay
in "The Comedian," Belasco's latest Sacha
Guitry importation
rimtofiraph by White Studios
Above is the upright Mr. Olin Howard in
"Wildflower." The personable young woman
so pleasantly at right angles with herself is
Edith Day. Nonchalance is the keynote —
whatever that means
f Forty-nine)
fNff M
1 hJI bv
•B
ESfi
1 1 - ' J
Photograph by White Studios
Classic's
Monthly Department
of the Theater
Photograph by Francis Bruguicre
■V/Al
■■^ Br ^k P
^T '*&*
Top of the page, Pauline Frederick and Charles Waldron
in "The Guilty One." We think Pauline is the one. Left,
Ann Pennington whose dancing saves "Jack and Jill." Above,
Dudley Digges as Mr. Zero in the Theater Guild's curious
theatrical offering, "The Adding Machine." Looks like a
horrible nightmare for Mr. Digges. Below, Josephine
Stevens and a very pretty chorus in "Go Go"
Photograph by
White Studios
(Fifty)
Bernice Ackerman, Vihclda, and Vera Bradley in "Lady
Butterfly." Wouldn't we like to be a moth miller — or whatever
it is that consorts with butterflies!
Photograph by Richard Burke
Above is a scene
from "Sandro Bot-
ticelli" and we wish
the artist had made
it bigger, because
there are a lot of
celebrities in it:
Botticelli, Leonardo
Da Vinci, two or
three Dei Medicis,
La Bella Simonetta
and so on. Eva Le
Gallienne plays Si-
monetta Vespucci
and Basil Sydney
plays Botticelli
(center background)
j m
Photograph by White Studios
Above is Louise
Huff as "Mary the
Third." She plays
all three Marys in
this new play by
Rachel Crothers.
We cant account for
the dead men. Left
is a moment from
"Anything Might
Happen," but the
trouble is, nothing
much does. Left to
right: Estelle Win-
wood, Roland
Young, Leone
Morgan and Leslie
Howard
(Fifty-one)
Flashes From
Of the Stage
Caught by
THE most important eastern news item of the month is that David
Belasco is preparing to leave for the coast about the first of June,
with Lenore Ulric, to supervise personally the production of
"Tiger Rose" her first picture under Warner Brothers contract.
Belasco's capitulation to the screen is the most encouraging and
significant circumstance that has ever happened to the once despised
movies. Even the highbrows stand in awe of Belasco ; even the in-
telligentsia look up to him ; even the obstreperous "young intellec-
tuals" accord him respect. This is glorious news, and Warner Broth-
ers are to be congratulated — however did they do it ?
Above is Mae Marsh
in character. She is
way down in
southern Louisi-
ana finishing
"The White
Rose" for
Griffith. Cen-
ter, David
Belasco and
Lenore Ulric
in the offices
of Warner Brothers,
with whom they have
signed an important
screen contract. Below is
Rex Ingram and the mem-
bers of his "Where the
Pavement Ends" cast. Rex
doesn't seem any too well
pleased. We hope he counts
ten before he drops the thing
Photograph (center) by Capitol Photo St
Another important announcement is Glenn Hunter's five year con-
tract with Famous Players-Lasky Corporation, which that favored
child of fortune signed last month. His first picture for them will be
"This Side of Paradise," F. Scott Fitzgerald's story of insurgent
youth. Fitzgerald is scarcely more than a boy him-
self and the two are great friends.
Mary Astor, the most promising
young girl of the screen and one
of our own Fame and Fortune
contest winners has also signed
a Famous Player-Lasky
contract. She is not yet
of age and all sorts of
legal difficulties had to
be removed before it
was finally accom-
plished.
Gallagher and
Shean, that priceless
pair who have helped
keep the Ziegfeld Fol-
lies going all season,
are reported about to sing
their song before a camera
to the tune of five thousand
dollars a week or thereabouts.
They will make five two reel com-
edies and a five reel feature, each to
be opened by Ed, with Al leading the
orchestra, while verses from their
famous song appear on the upper half
of the screen. In the fall they expect
to open in a musical comedy for Charles
Dillingham called, "Stealing a Town."
"Four leaf clovers, Mr. Gallagher.
No, it's horseshoes, Mr. Shean."
The eastern studios are as busy as
their western rivals. Mary Alden is
working out at the Biograph Studios.
Alma ^Rubens is making "Under The
Red Robe" at the Tilford Studios.
Gustav Seyffertitz is in the same pic-
ture, and John Charles Thomas the
noted American barytone will make his
screen debut in the leading role of Gil
de Berault ; Richard Barthelmess has
started on "The Fighting Blade" a
romantic costume story. Conrad Nagel,
Hope Hampton and Lew Cody are in
(Fifty-two)
the Eastern Stars
On the Screen
the Editor
the midst of "1 aw ml I arccny" at Famous Players Long [aland
Studios. Bert Lytell is in New York foi featured rdlea with l osmo-
politan Productions. Bettj Blythe is finishing her last picture for
Whitman Bennett. Marion Davies has just Crushed "Little < >1 * 1 New
•k." Francis X. Bushman and Beverly Bayne ire completing
"Modern Marriage" out in Vonkers, Glenn Hunter is at the Film
Guild.
Marguerite Courtot and Raymond McKee were married last month
m "Uit- little church around the corner." Their picture "Down to
The Sea In Ships" has broken all record-- at the Cameo 'Theatre iii
New York City. Ciara Bow, another Fame and Fortune Contest
winner ha-- the ingenue lead in that picture.
Alice Joyce, whom Neysa McMein has.pronounced
one of the six most beautiful women on the
screen, is coming back to pictures after
a long absence. She will make
"The Green Goddess" with
George Arliss for Distinc-
tive Pictures Company
Betty Blythe is go-
ing to Algiers. What
interesting times
these screen beauties
do have ! She will
star in the Graham-
Wilcox production
ni "Chu Chin Chow,"
the exteriors of which
will be shot in anil
about Tunis. Wonder-
ful opportunity for Betty
D. W. Griffith is down in .
Florida and Louisiana with his
company finishing his picture, "The
White Rose" with Mae Marsh. Ivor
Novello, Carol Dempster and others.
Above, the inimitable
Mr. Gallagher and
the incomparable
Mr. Shean pleas-
antly exhilarated
by their new
screen con-
tract. Center,
the work-shop
of the Film
Guild during
the making of
"The Scarecrow." The
mask is Glenn Hunter
Below, a charming model
of the 45th Street Theater
where the "Music Box
Revue" still draws crowds
every night of its long run
Marion Davies has had a lot of
bad luck with her latest picture
"Little Old Xew York." She nar-
rowly escaped serious injury in one
of the scenes. Louis Wolheim had
to throw her over his shoulder and
carry her to a whipping post with a
mob of howling extras at his heels.
When he reached the steps they
crowded him so close in their excite-
ment that in spite of his efforts to
save her, Miss Davies fell to the
platform striking her head with ter-
rific force. She was unconscious
for several minutes but when she
came to, pluckily insisted upon con-
tinuing the scene. Whereupon all
the extras cheered and Wolheim
saluted her gallantly. When you see
{Continued on page 73)
(Fifty-three)
A YOUNG man strolled
thru the smoking car.
He was correctly
clad, casual. At one glance
he appeared to have a bear-
ing of some fierce inner spir-
itualness. At the next glance
as equal a contradictory ap-
pearance, of shrewd sophis-
tication. Calculatedness. At
both glances he appeared to
be singularly attractive.
Even compelling. During
the cross-country trip one
man had been watching him with a species of concentra-
tion. This man was a detective.
The young man strolled thru the smoking car. He
left behind him a spiral trail of elegantly scented smoke.
Expensive. When the trail thinned to faint blueness the
famous detective arose, also casually, and strolled after
him. He thought that he would confront him in the nar-
row passageway between the smoker and the Pullman
car. But he didn't confront him. When he emerged
from the smoker into the passageway the young man had
casually but completely disappeared.
Fifteen minutes later, precisely, from a ditch by the
railroad bed, where, precisely fifteen minutes before the
Transcontinental had sped by, a young man emerged.
He was the same young man as to face — almost. He
was quite another young man as to garb. His tailored
clothes had given way to a costume somewhat bastardly
a mixture between that of a Pacific beachcomber and a
holy man of somewhat uncertain orders. He carried a
long staff and over his shoulder, a bundle. He strode
immediately off toward a destination of which he ap-
peared definite and certain. In the deep depths of his
eyes glowed a flame which was focal and baffling. Two
spots of red burned on the pallor of his face. Except
The Madness
of Youth
for soft corners in his
mouth he was ascetic. He
walked a long ways, un-
weariedly. . . .
Told in Story Form
By
GRACE LAMB
The Bannings were quar-
reling among themselves.
They had exhausted most of
the other worldly excite-
ments, and really, as they
would have' told you, the
spiritual had no attraction
for them, even if they had
thought about them, and the mental occupied their minds
not at all.
Theodore P. Banning would have said of himself, in
extenuation, that he had burned himself out as much as
was good for a man in his fight for wealth. Well, he
had obtained it. What then ? During the process, he
had lost his wife in death, lost his son and daughter in
life, and gained three obsessions. Which is as much, all
in all, as most men do who go into the cold bowels of
mankind to bring back soulless gold.
His first obsession was the large iron-ribbed and steel-
lined vault built just off the library of his pretentious
Southern California residence. His wife had used to
plead with him to bank it, but banks had failed him twice
in his life, and he would have none of them. His son
and daughter told him that one day he would be mur-
dered and his safety vault looted, but he merely shrugged
his shoulders. This potential catastrophe was beyond
him. He wouldn't mind being murdered, he thought, if
such should befall.
His next obsession had to do with his two children,
Theodore Jr., called Teddy, and Xanette, his daughter.
They had been nice children. Once, when his wife was
living, he had been wont to hear them say their goodnight
(Fifty-four)
^HB^H
prayers, had kist them goodnight, loving as much as he
had rime, the urgent clinging of their damp, unall arms
Bui the) didn't say theii prayers any longer, they knew
better now , . and of course t lu-ir slim, strong arma
had better use-, than to be about his leather] old neck
. . But the) might, he pondered in bitterness, h
shown him some filial respect, after he had amassed his
glittering wealth for them. They might have been at
■ respectful,
["his third and la^t obsession h;i<! to do with the tenets
of spiritualism. Everything else had failed him. Ever)
"ii earth had failed him. Once they had all worn
painted, alluring, laughing masks. Then they had torn
the masks away, and lo, the grimacing faces that looked
upon him ! Even his Teddy, sensual and cynical. Even
his little Nanette, petulant, defeminized, hard like a
young green apple. ... In spiritualism he was able, he
thought, to talk with his dead wife. She was gentle with
him. Sympathetic. She agreed with all Ids grievances
and was sorry for him. What he was against she was
against. He had lo pay vast sums of money to hear her
speak so to him. but it was worth it to him. He believed
in her. Rich men. too, must have their toys, nor nerd
they ever know that they are broken.
But today the Bannings were quarreling among them-
selves. Ted had brought home from France a young
French wife. She was delicately pretty and delicately
built. Ted didn't seem to care for her as lie had. Al-
most every day he made her cry. and when he saw her
crying, with two red rims etched unbecomingly about her
soft dark eves it
couldn't be entertained sitting about this old dump like
'i- fingci I 1' said, with ■
well, ti
tlit- m all he i ould gathi mi^
hut a sponger on i ich nun's mon< \ . an
father w ned with him, ai
Nanette sulked and flounced out of the garden
followed her and the) had 'I'm
tiled of being bossed 1>> that old grouch, Dad,"
said, "Pete wants to marn me and I think I'll gel
tonight. Dad'll cut us off with a shilling, but what do I
care? I'm bored stiff with tins stuffy atmosphei
red laughed derisively. "If Dad cuts you off wit
shilling." he said, "your Pete will cul you off with
All he's alter i - your moi r mine, not v. mi."
"Is that so'"
"Thai is so !"
"And how do you get so v. j
"You dont have to be wi e thru Pete Reynolds.
I dont hold any briefs for old Dad. but he can smell a
sucker after money, and that's what Pete is. lie's ;il ■•■
living around in die homes of the wealthy, as he is now
honoring us. He's always licking some gilded debu-
tante's costly boots. Only most of them aren't such
sweet asses as my own sweet sister. God, it's as plain as
your skin !"
"But I thought you liked him ..." Nanette whined
her words.
"Oh, he's all right to have a drink with, or shoot ]
or go out with some girls. / dont have to marry him."
served to make
him angrier than
ever. Today she
was up in her
room crying.
Theodore P.,
senior, had heard
her and had been
remonstrating
with his son,
which led him. in
turn, to remon-
strate with his
daughter. Na-
nette hadn't been
home for a week
before one or
two in the morn-
ing. Theodore P.
wanted to know
what the devil
she meant by
such carrying
on ? What' did
she think she
was? Nanette
sulkily replied
that she had been
with Pete Reyn-
olds, that Pete
was their "guest,"
and that he
Javalie stood still.
He heard his name
called again, and
the masked dancer
stood before him
stripping off her
mask. "So you're
here, Louise," he
said without
surprise
dJ
L
(Fifty-five)
CLASSIC
"You're some man, aren't you, Ted?"
"You're some woman, aren't you, Nan?"
And into such a garden walked the man of uncertain
orders with the light burning in the deep depths of his
eyes and the gnarled staff in his long and slender hands.
Theodore P. removed his expensive cigar from his
mouth. He sat up in his chair, straighter than the heat
of the day rendered perfectly comfortable. "Well," he
said, "who in hell are you? Where do you come from?"
"I am from Everywhere," said the Stranger, "from
the mountains, from the desert and the sea. From the
high places and out of the low I am a symbol of that
beneficent power that heals the wounds of the soul."
"Oh, you are, are you?"
"My name is Jaca Javalie. There is hatred and trouble
in this house. Vipers coil and stir in a nest of brooding
beauty. Father is armed against son, in his soul, and
son against daughter. Why this has been revealed to
me, I do not know. I want
nothing. I do not take. T
give. I give peace."
This was spiritualistic
stuff. Theodore P. sat
more erect. He wanted to
hear more. His spirit was
sore disturbed and the
strange man's singular
words were like fresh
waters. "So," he said,
"you think we're in diffi-
culties here, do you ?"
"Yes," said the Stranger
simply.
THE MADNESS OF YOUTH
Fictionized by permission from the Fox Film
of the scenario of Joseph Franklin Poland of the
story by George F. Worts. Directed by Jerome
Storm. The cast:
Jaca Javalie Jack Gilbert
Nanette Banning Billie Dove
Theodore P. Banning Wilton Taylor
Ted Banning Geo. K. Arthur
Jeanne Ruth Boyd
Louise Dorothy Manners
Peter Reynolds Donald Hatswell
Mason Luke Lucas
Javalie stood before the
older man and passed his
hands over the grey head.
"Then sleep," he began to
intone, "sleep . t . . sleep
. . . sleep. ..." Ban-
ning relaxed and closed
his eyes
''And you think you
can help us. How?"
"By remaining with
you for a few long
hours. For a day or so.
Simply by remaining
with you. I can sleep
in the open field and eat
with the help in the
outer places. My bed is
beneath the stars as well
as beneath silken cover-
ings."
"You'll sleep indoors
if you stay at all."
"That shall be as you
will it. I come to bring
peace."
"Well, you've come
none too soon." Theo-
dore P., already more
peaceful, perhaps be-
cause momentarily ar-
rested, lay back again in
his long chair ; "we're
very unhappy here," he
said. The stranger in-
clined his head. He
seemed to be like a deep,
cool well drawing from
the air about him all
that was poisonous and restless. Theodore P. found
himself talking to the stranger, telling him things. . . .
After awhile he rose and insisted upon his strange guest
accompanying him to the house. They entered the library
in the midst of which stood. Ted and his sister, still dis-
puting a point which had. by now. become wholly ob-
scured from its source.
They stopped with the effect of clockwork when they
saw their father with the stranger. "Where did you
come from?" Nanette broke out, with her characteristic
audacity. "Mars?"
"Great Scott, Dad," laughed Ted, "what new curiosity
have you unearthed ?"
Theodore P. introduced Jaca Javalie, and the man
spoke a few words to them. Suddenly, for the first time
in many months, Ted felt adolescent and awkward. Like
he had used to feel. And for the first time in even more
months Nanette felt distinctly silly, and like making
amends. The two young
Bannings turned suddenly
gracious.
Ted bethought himself
of poor, little Jeanne, cry-
ing alone in her room. He
ran up to get her down.
While she was powdering
her face and rearranging
her hair Ted kist the back
of her neck, impulsively.
He hadn't done that in
many months, either.
Jeanne felt a little stab of
a come-back happiness.
(Fifty-six)
CLA!
ijnner in the Banning home thai nigh! was the first
ceful one foi as fai back as an) oi the famil) could
remember rhe strangei talked in .1 lo^ voice ol pleas
ant places he had been, of his beliefs, practical tinged
with mysticism, his dark burning eyes ranged with a
plendid impartiality ovei the faces of hi -^ host, Ted,
Madame Jeanne and the rose-colored Nanette, Nanette
once thought that his eyes rested longer on her, and her
heart gave an inexplicable leap into .1 curiously high
place. Pete Reynolds was the onl) one who did not
n to come under the stranger's spell. Nanette rather
despised him for this He didn't seem so attractive to
her as he had done that afternoon. He didn't go aboul
the world working miracles, as did Jaca Javalie. What
a name . . . Jaca Javalie , . Nan tte kept rolling the
syllable under her tongue. \ftcr awhile she heard them
echoing in her heart . . . Jaca Javalie . . .
In the morning of the following day Nanette talked
with him in the garden, lie talked to her about the
(lowers. But now she was defiant. She felt drawn
toward him, but she felt resentful, too. a httle dubious.
Was he "spoofing" them all' One did do much spoof
ing nowaday-. Pete Reynolds, for instance, with his illy
adjusted lover's mask.
That night the Bannings were giving a fancy dress
hall Javalie had said that he would watch from the
balcony. There, radiant, late in the evening, Nanette
came to him. alone. She was spiritually lovel) except
for her hard young eyes. "You can fool Dad," she said,
without preamble, "with your supernatural stuff. Rut
you cant fool me."
"But I dont want to fool you," Jaca Javalie said. And
somehow in the moonlight his words ran with a clear
conviction. No, Nanette knew, be didn't want to fool her.
"You dont want to fool me." Nanette answered him,
still with a vein of
mockery, "because
you're human . . '.
not spiritual. Be-
cause I'm a woman
and you're a man.
That's w h y y o u
dont want to 'fool'
me. Isn't it? Isn't
it.'"
Jaca Javalie
looked down on her
and the light in his
eyes burned more
deeply, if less
strangely. "That
may be it." he said,
"who can tell?"
After Nanette
had pirouetted away
Javalie put his hand
to his forehead. He
tried to surer zvhich
was his habitual
smile when alone.
but was somehow
u nsucces s f u 1 .
"Steady, old man."
he muttered to him-
Javalie raised her
hand and kist it, and
was still. They had
their right to judge
him . . . these people
whom he had saved
. . . and would have
robbed
I) , there ' R< memb
ni 'i V » i
\ loft hand touched his arm and he tool
the little, loneh Madame Jeanni
with a lover who, like In- country, had pro\
strange to her. In the moonlight Iter large dark
wei e mi -t' d with mi not 10 l<
Nanette, (he man thought, but «,!..
ful. Juat now. the touched him Down m the
garden, where the lupper was being served, a
dancer had stepped lightl) from a mammoth cake
Jazi shook the night With ribaldry. Madame Jeanne
murmured in his car, like the falling of a light rani
"The) say," she said, pointing down to where tl
was flinging white arms to the music's strains, "tin;.
she can have any man she wants They SB) that men
have killed themselves for love of her. Oh, holy man.
die wants m\ Ted . . . and he has grown SO weak
strange since we came back from France. Wont
you please save him from her? I know that you can
Madame Jeanne stood on tip-toe until her soft mouth was
level with Javalie's ear. She whispered a few word- to
him. -"PJease help me," she finished, helplessly
Mown in the garden Nanette was calling him. He went
down and walked with her down one of the winding
paths. Suddenly she turned to him and threw her arms
about him. "Kiss me . . . holy man." she commanded,
mockingly. Javalie took her in his arms. The thing that
had been stirring within him broke and he crushed her
against him. When be released her she stood back and
the mockery i<\ her words was broken by the passion of
her voice. "1 knew that you were human." she said.
And she ran away. Javalie stood still. He heard his
name called again, and the masked dancer stood before
I Continued on page 78)
(Fifty-sei-en)
Classic Considers
OLGA PRINTZLAU
Because she's so young and so clever; because she is head of the Department
of Adaptations of Preferred Pictures at the age of twenty-six and at an almost
incredible salary; because she looks like the younger sister of her own child
who is twelve years old; because in spite of youth, beauty, brains, and talent
she resists the call of the screen and sticks to her desk. She was scenarist for
William De Mille when B. P. Schulberg signed her. She is still piling up her
list of successful adaptations
Photograph by Evans, L. A.
HARRY KEMP
With thankfulness for his fascinating autobiography,
"Tramping On Life," the frankest and most interesting
self-revelations since Jean Jacques Rousseau and Marie
Bashkirtseff. Not because he was called "The Tramp
Poet" but because he was that. Because he has crowded
into one short life, all the beauty and romance of poetry,
all the flame and daring of adventure, all the poignant
wisdom of bitter lessons learned ; and because he has
crystallized this experience into a beautiful prose poem
for all who run to read
FONTAINE FOX
In consideration of the fact that the odd little whimsies of
his brain and pen have now become household words. Who
is there who does not know the Powerful Katrinka, the
Toonerville Trolley that meets all the trains, and the Terrible
Tempered Mr. Bangs? His cartoons are not only syndicated
in hundreds of papers all over the United States, but an
enterprising toy merchant is now manufacturing them as toys
and a farsighted motion picture producer has made a movie
of these familiar comics. In the picture with Mr. Fox is Dan
Mason as the skipper of the Toonerville Trolley
(F
tfty-a$it
MMB^H
Photograph by Russel Ball
THE HEIR TO THE THRONE
Only it happens to be an heiress! We herewith present the first picture of young Miss
Barthelmess ever taken. Mary Hay Barthelmess is her name and she has only a few
weeks to her credit — but just look at the beaming parents. Dick's hair is long, he
wished it explained, for the sake of his next picture. "The Fighting Blade"
(Fifty-nine)
The Hollywood
Lew Cody and Erich von Stroheim ex-
change mustaches — or something like
that
Transcribed by
KING Tut-ankh-Amen seems to have staged the grandest come-
back in all historv. And he's dragged all Egypt into the movies.
William P. S. Earle, brother of the celebrated Ferdinand
Pinney, is putting King Tut bodily into' the screen drama. For eight
months, he has been making preparations for the play which is now
being filmed at the Hollywood Studios, with Carmel Myers, June
Elvidge, Malcolm MacGregor in the cast. Mr. Earle is said to
have unearthed an actor heretofore unknown to the screen for King
Tut himself. It is to be distinguished by the most extraordinary
art effects yet seen on the screen.
* * *
So convinced are the
producers that a great
wave of Egyptian en-
thusiasm is about to go
sweeping over the movie
colony that the art direc-
tor of the United Studios
has been sent to Luxor
with $100,000 in his
jeans to buy all the an-
cient "props" he can lay
hands on.
While this is taking
place, Cecil De Mille's
representatives are scam-
pering around the world
in the other direction. A
big box arrived at the
Lasky Studio the other
day laden with the most
gorgeous Siamese em-
broideries and jewels
which are to be used in
the film play that Cecil
De Mille is to base upon
the Ten Commandments.
Mrs. Florence Meehan is
touring the Orient for
that special purpose.
Douglas Fairbanks will probably be
seen next in a big picture on the order of
"Kismet" by Edward Knoblock. He also
has it in mind to produce two other plays.
The fact is Mr. Knoblock is down at the
beach furiously scribbling away at the
Bagdad play, while Doug's brother,
Robert Fairbanks, is in the mountains
with squadrons of stenographers madly
writing upon the pirate play that he wants
Douglas to do. Inasmuch as Douglas has
thought up some very marvelous scenic
effects for the Oriental, it looks like a
potentate of the mysterious East for his
next.
Meanwhile, Robin Hood is breaking all
known records of the West. At this
writing, it is doing its twenty-third week
at $1.50 per seat with every prospect of
(Sixty)
mmi^^mm
Boulevardier Chats
Harry Carr
twentj five 01 more weeks before the box office begins to weaken,
Robin Hood at the new Egyptian theater in Hollywood baa been an
interesting experiment; it is the first reserved seal house
Mary Pickford is in tin- midst of the first real love scenes of her
eer in her play of medieval Spain which is being directed l>\
Ernst Lubitsche. li has been one of the unvarying rules of Marys
screen plays that her love scenes had to be mil<l and pallid - just
little girl fairy kisses in passing ;h it wore. The whole studio has
been thrilled to death
during the making of this
one because Mary is
making tempestuous love-
She has done her little
curls up on the top of
her head and — oil dear
where is our little Mary ?
George Walsh is the
alarmed recipient of
Mary's first screen love
making.
( >n account of the ver\
heavy studio overhead
expenses, it is possible
that Mar) will begin
work on another story —
probably Dorothy Ver-
non of Haddon Hall be-
fore she is thru this other
story.
Salomy Jane, the old
Bret Hante favorite is
soon to be seen in pic-
tures under the direction
of George Melford.
Jacqueline Logan with
Lefty Flynn, who is to
be benceforth officially
Maurice Flynn, is in the high Sierras
making the picture. The picture is to be
made from Paul Armstrong's dramatic
version of the storv.
Estelle Taylor, who is working in a
picture to be called "The Children of
Jazz" under the direction of Jerome
Storm, has had the bad luck to be named
for the second time by a jealous wife;
this time by the spouse of a camera man
named. Barnes. Before it was by Seena
Owen.
Rob Wagner, the author, is beginning
his career as a Lasky director with a
picture to be called "Fair Week" of which
Walter Hiers will be the star. Most of it
will be "shot" in Pleasanton a town in
Above, Lupino Lane; the Italian come-
dian just out of the hospital buys a — er —
souvenir in case he needs it. Right, Bull
Montana "among his books." The great
star reads .ffischylus every night before he
goes to bed. Below, Gene Sarazen world'
champion golfer and Ann Perdue to whom
is reported engaged
People get arrested for this sort of
thing but Walter Hiers is willing to
risk it
Photograph hy
(iren beaux
(Sixty-one)
CLASSIC
Northern California beloved of location experts ; it
looks exactly like New England.
Norma Talmadge is starting on the biggest produc-
tion of her entire career. It is a French story called
"The Ashes of Vengeance." It is expected to cost in
the neighborhood of $700,000 ; there will be over
$10,000 worth of swords alone. In the story Norma
falls in love with a young nob'eman who, to save the
life of a sister, has become the bonded servant of a rival.
The peculiarity of the picture is that Norma does not
appear until well along toward the middle of the pic-
ture. In honor of the affair, Norma's devoted husband,
Joseph Schenk has had a gorgeous dressing room built
for her on the stage and a special bungalow in the studio
for her to rest in.
* * *
Renee Adoree, after plugging along in pictures for
several years, has suddenly burst out as a star of the
most brilliant effulgence. Reginald Barker discovered
her while making a big Canadian picture and considers
her as the big "find" of the year. Miss Adoree was
formerly a professional dancer and is the wife of Tom Moore.
Jackie Coogan had to starve all during the making of Oliver Twist.
He is now working in a picture in which he complains plaintively that
they keep him stuffed to the muzzle with spaghetti all the time.
Little Ben Alexander, who played the marvelous part in Griffith's "Hearts
of the World" has come to light again. He is to be "Penrod" in a film
version of "Penrod and Sam" directed by William Beaudine. He will be
supported by a big cast which includes Irene Rich, William Mong, Rockliffe
Fellows, Mary Philbin and Gareth Hughes.
Baby Peggy also occupied the central part of the public eye for a time
last week when she signed with Sol Lesser, the producer, for a series of
feature pictures.
* * *
The real estate bug is biting again. Douglas and Mary Fairbanks have
bought ten acres in the rear of their studio on Santa Monica Boulevard
by way of investment. Little Pauline Garon has bought a place in the
Wilshire district and has sent for her father and mother in Montreal.
Alice Howell, when she. saw all this easy money floating around in real
(Continued on page 66)
At the top of the page is
Buddy Messing or, Century
Comedies' youthful comedian
and his leading lady, little
Sadie Campbell. Center is Tom
Mix holding his own wife on
the top of the world. Hope he
doesn't mean to drop her. Left,
Mary and Doug six years ago,
holding up a picture producer
in the time honored fashion.
The unfortunate man is Al
Lichtman at present, president
of the Al Lichtman Corpora-
tion which releases Preferred
Pictures
(Si.rty-tivo)
Are you
especially fastidious
about void mamcui
w:
rOMEN who are exceptionally critical about
a manicure should "do" their nails the Cutex
way. For, this new method of manicuring not only
eliminates all dangerous and disfiguring cutting of the
cuticle, but it leaves the finger tips soothed and com-
forted, the nails immaculate and lovely.
Moreover, the Cutex way of manicuring is quick
and easy. It takes but five or ten minutes once or
twice a week.
You just dip an orange-wood stick wrapped with
cotton in Cutex Cuticle Remover (a cleansing, anti-
septic liquid developed by Science for the care of the
nails), work it under the nail tips and around the base
of the nails, gently pressing back the cuticle. Then,
rinse the finger tips in water, and wipe them off. Now,
examine the nails closely, and you will see that every
tiny flake of dead skin has disappeared, ugly stains
have vanished, and the nail rim is thin, even, and
beautifully shaped.
Then — for a Jewel-like Polish
Of Culex Polishes there are 6ve — the paste, cake, stick,
powder, and liquid forms. All give a brilliant, lasting lustre
and that rose-pearl glow approved by Fashion as the smart
finish to a manicure. Obtainable at all drug stores in the
United Stales and Canada, and at chemist shops in England.
=£Xjtex
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Polish
A scented, rosee powder
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gives a dazzling lustre. No
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EVERYTHING FOR THE MAN/CURE
Send for this Introductory Manicure Set „_1«. / ~) .-_„<,
Sol • t t c- c i • \a — ontu / £ cenio
ufncient for oix Complete Manicures
Fill out the coupon below, and mail it with 12
cents in coins or stamps for the Cutex Introduc-
tory Manicure Set containing trial sizes of Cutex
Cuticle Remover, Powder Polish, Liquid Polish,
Cuticle Cream (Comfort ), emery board, and mani-
cure stick, enough for six complete manicures,
address Northam Warren, 114 West 17th Street,
Sew York, or, if you live n Canada, Dept. N-S,
200 Mountain Street, Montreal.
Northam Warren, Dept. N-6
114 W. 17th St.. New York, N. Y.
/ enclose 12 cents for
Cutex Introductory
Manicure Set.
Name.
Street
(or P. O. Box)
City
Write your
name and ad-
dress plainly
on this cou-
pon and mail
with 12 cents
in coins or
■ tampsto-day.
Slate
(Sixty-three)
Katinka From Chaiive-Souris
The most original and popular show of the past season in
New York was the "Chauve-Souris," that glorified
Russian vaudeville that has set everyone to humming
the March of the Wooden Soldiers. Now Herbert
Brennon has re-created a bit of it for the screen. Just
have patience and you can see for yourself what it is like.
He has interpolated the Katinka episode pictured here
in his newest picture "The Rustle of Silk"
(Sixty-four)
I
What ten million motor cars have taught
women about their skin
The method they have learned
to depend on
I wa unbroken lines of cars wind along the pop-
ul.n motoi roads Everyone is motoring week-
ending at the beach, or the country club, or just
driving for tin- pleasure of it. Fine dust settles in
their skin and the wind brings .1 dr) tightness.
^i et many women's complexions are younger
ami lo\ elier than ever before '
The severe exposure of motoring lias taught
them liow importantiit is to Hiul the right wa\ to
care foi their skin, keep it beautiful and supple in
spite of all exposure.
Pod ay millions of women have found a method
so wonderful in results that in all the world it is
used more than any other Pond's Two Creams.
They leave your skin softer, more supple than you
could have dreamed. They give just that finishing
touch ot loveliness you have always wanted.
A fine light cleansing that never leaves your
face heavy with cream gives the beautiful supple-
ness you want anil then wipes entirely oft! 1 his
is why millions of women prefer to cleanse with
Pond's Cold Cream.
A marvelous freshening, an adding ot youth
and unfailing protection. No wonder that the
women of the United States alone use several
millions of jars and tubes of Pond's Vanishing
Cream every year!
TRY THIS FAMOUS METHOD
See the wonderful improvement in your skin
Doth: With the finger tips apply Pond's Cold Cream freely.
1 In very tint' oil in it is able to penetrate every pore of your skin.
Let it stay a minute — now wipe it off with a soft eloth. The black
on the cloth will show vou how carefully this cream cleanses. Your
skin looks Iresh and is beautifully supple.
nootfa on Pond's Vanishing (.'ream lightly
over your whole face. It you wish, rouge —powder. How smooth and
velvety your face feels! How new and charming the reflection in
your mirror! The appearance of your skin for the whole day will
prove R> you how wonderful for your skin these two creams are.
Always after a motor or railroad trip, cleanse with
Pond's Cold Cream and finish with the Vanishing Cream
and powder. To see how these two creams will improve
your skin use this method regularly. Begin now by
huving both creams in jars or tubes in any drug or
department store. The Pond's Extract Co.
removes coarsening dirt — restores suppleness
defies exposure — holds the powder
Photo by I l
Florence Nash <ay she likrs Pond'' Cold Crt am bfcauu it f/ewj i
feeling so refreshed — not heavy and oily. And that Pond's 1'amthine Crrum
realty keep! her shin wonderfully smooth and fresh.
Exposure starts these troubles or
makes them worse
Sunburn, Windburn. Chapping
I'he daily repetition of weather damage docs more to aj rhan
anv other single factor But the proceei if IO gradual that ciu;
specially severe occasions you do not notice it until your skin ha,
ilefinitclv coarsened. Do not let this happen. For the insidious every*
du\ exposure use the same merhoil that sa m youl skin from rhe . i
sive damage of a long motor ride or a day on tin
properly oiled hv a nightly cleansing with Pond's Cold Cream Then
always in the morning, smooth on Pond's Vanishing Cream It forms a
delicate hut sute protection. I his method will keep sour skin smooth
and young years longer than would otherwise he possible.
Premature Wrinkles, Scaling, Peeling
These are especially the troubles of a dr \ skin To a v ..id thi m v ...j must
protect VOUrtelf from all exposure and keep youl .Lin Soft das and
night. Cleanse with plenty of Pond's Cold Cream nightly anJ leave
some on over night I his will gixc your skin the oil it needs so !
and keep it from scaling and peeling. Then it will not develop little linei
thjt grow into wrinkles.
But do not let the exposure of the day undo the results of this nightly
oiling. Evety morning smooth on Pond'* Vanishing Cream liberally,
prevent your >km from drying our again, -\lwas s earn a tube with yosi
on motor trips to counteract their drying, ageing influence.
That Distressing Shine
Sometimes shine is due to a dry. tight skin, and motoring ot even the
slightest daily exposure aggravates the condition Vou must apply an
extra amount of Pond's Cold Cream at night after the ilean,mg and
let it stay on. Sec how gladly youl Am will absorb the hnc light "i1 ol /
this cream, how it will soften anil relax and the shine disappear
Put on the Vanishing Cream in the morning to keep this sup pit m - /
through the day and he sure to carry it with you anil dm it ,
freuuentlv on any occasion of unusual exposure. '
Accumulation of dirt and fat in the pores ^
Sometimes the oil in your skin accumulates in the glands /
and attracts dirt and bacteria lust that blows into • I h. i
your face when motoring, or the dail) soot ot .us >.-
stteets. Your complexion is dulled, disfigured / lJiF. Hudson
You need specially careful cleansingS Pond's * St . New Y"fk
Cold Cream is so light it penrttatcs the glands /
and takes out excess oil and din together. / tntUtKli f„,
!^0.,.h.'5_c.v!rv,.'!,.'t,".a".'1 *J"f y".™ I Si" / cial introdu, ton tul.es
' of the tWO cTsHtHII cwrv
/^ normal >km nml*- enough
ol viih cream t'.ir rwo *crk»*
motor or railroad trip, and you
avoid a dull, mudilv » in
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/
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lit t LUCl
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/
(Sixty -five)
The Hollywood Boulevardier Chats
(Continued from page 62)
estate a year or so ago tossed up her film job ; galloped
forth to make a fortune ; made it and has now returned to
the screen prepared to say "Oh I dunno" at any fresh
director.
An assortment of celebrities adorns "Wandering Daugh-
ters" now being made at the United Studios. Among
them are Craig Biddle, the young Philadelphia millionaire ;
Lyman T. Gage, Jr., son of the former secretary of the
Treasury ; Princess Waldemar Valkonsky of Russia,
Antonio Rolando, son of a millionaire newspaper owner
of South America.
It is said that Erich Von Stroheim threatened to throw
up his contract with Goldwyn if he couldn't have Zazu
Pitts as his leading lady in McTeague which is to be
made from the Frank Norris novel. Consequently Zazu
is to have the part.
Hollywood in the screening — directors, authors, producers
etc. One is Rupert Hughes' "Souls for Sale" and the
other "Hollywood and the Favorite Child," made on the
Lasky lot. The latter story is a yarn by Frank Condon
about a selfish flapper daughter who dragged out her
whole family from Iowa to Hollywood so she could get
into pictures : after they got here, every one of her
family except herself got a studio job.
Fred Niblo is having a ship yard employing 200 men
built for his forthcoming pirate picture "Captain Apple-
jack." In the course of the picture he will use a whole
fleet of boats — four schooners, two brigs and a frigate.
Among the actors who will take part in the picture will
be Enid Bennett, Robert McKim, Thos. Ricketts and
Matt Moore.
* * *
Mary Pickford wants to adopt the beautiful film child
Phi 1 li pe de
With the
transfer of
Emmet J .
Flynn to the
Goldwyn lot,
the young lead-
ing men look
up hopefully ;
for, dont y' see,
he discovered
both Valentino
and Norman
Kerry.
George D.
Baker is com-
ing West to di-
rect Balzac's
"The Magic
Skin" for the
Achievement
Films, a new
producing firm
which has re-
cently come
here from
Philadelphia.
Baker is the
director who
made "Revela-
tion" with Na-
zimova.
Two big pic-
tures are mak-
ing a concen-
trated dash for
the screen as
they both con-
tain the same
unique idea ;
that of using
about half the
celebrities of
Anna May Wong, the charming
authentic note to Priscilla Dean's
little Chinese girl who lends an
picture "Drifting," a Universal film
Lacey who was
found on a
French battle-
field and
brought to
America by
Edith de Lacey,
an English
nurse. Thus
far, Miss De
Lacey has re-
fused Mary's
offers.
Gladys Wal-
ton was sent to
jail for three
days for speed-
ing by an irate
Los Angeles
judge. She told
him she was
nineteen years
old and had
been hitting up
the pace at
thirty - three
miles an hour
thru the center
of town.
"You'd better
go home and
get some
clothes that
would be good
for jail," said
His Honor
briefly. "Three
days." Just be-
fore going in,
Miss Walton
was edified to
learn that her
future cell
(Continued on
page 74) .
(Sixty-six)
At the end
of the dance
J7*ROM the ballroom Boated the strain.
a of a waits, and from out beyond
came the sleepv niylit sounds the late
Call ol a bird, the faint whispering of
leaves in the summer hree/e.
The man watched the woman before
him in the mellow glow of the lanterns,
drinking in her loveliness with eyes that
could not leave her face.
"What is it?" she asked softly. "You
look as if you were in a dream."
"I think this is a dream, and you a
dream woman," he answered; "for I
never saw anyone so lovely! There is
something that makes you stand entirely
alone, in a delicate, glowing radiance. I
think the greatest charm of all is your
wonderful coloring."
The last notes of the waltz were quiver-
ing into silence. "That is the end," she
saiil. "1 think it is the beginning," he
answered, still watching her.
'•/ think it it tht beginning," he anrsvercd-
A Happy Last Touch
When you use the Pompeian Beauty
Trio you can feel assured that your
skin is always fresh and glowing, and
that it will remain so almost indef-
initely.
Pompeian Day Cream is a vanish-
ing cream that is absorbed by the skin,
protecting it from dust, wind and sun.
The delicate film that remains on the
surface after the Day Cream has dis-
appeared holds powder and rouge so
well that constant re-powdering is un-
necessary.
Pompeian Beauty Powder is of so
soft and fine a texture that it goes on
smoothly and evenly. A light coating
will last a long time; for this powder
has, to a remarkable degree, the qual-
ity of adhering.
The Bloom is a rouge that is abso-
lutely harmless. It comes in the de-
sired shades — light, medium, dark,
and orange tint.
Use the Pompeian Trio together for
Instant Beauty; for great care has
been taken that all Pompeian Prep-
arations blend perfectly.
Remember, first the Day Cream,
next the Beauty Powder, then a touch
of Bloom, and over all another light
coating of the Powder.
"Don't Envy Beauty — Use Pompeian"
Pompeian Day Cream {vanishing)
6oc per jar
Pompeian Beauty Powder doc per box
Pompeian Bloom (the rouge) 6oc per box
Pompeian Lip Stick 25c each
Pompeian Fracrance, a talc 30c a can
Pompeian Nicht Cream 50c per jar
The MARY PICKFORD Panel
and four Pompeian samples sent
to you for 10 cents
Mary Pickford, the world's most adored
woman, has again honored Pompeian Beauty
Preparations by granting the exclusive use of
her portrait for the new 1923 Pompeian Beautv
Panel. The beauty and charm of Miss Pickford
are faithfully portrayed in the dainty colors of
this panel. Size 28 x j'/i inches.
For 10 cents tee tcill lend you all of these:
1. The 1923 Mary Pickford Pompeian Beautv
Panel as described above. (Would cost from
50c to 75c in an art store.)
2. Sampleof Pompeian DayCream (vanishing).
3. Sample of Pompeian Beauty Powder.
4. Sample of Pompeian Bloom (non-breakini:
rouge).
5. Sample of Pompeian Night Cream.
Pompeian Laboratories, x\it Payne Avenue, Cleveland, Ohio
Alio Made in Canada
bay (ream Beauty Powder BIoom
Tht GM Whc II', is
Out of I >.itf
II, \ImI )■ «N-I I I t
M ago I ha. I a tall I:
Irirml. She came in wrarilv. an.) tank inffi
a chair. The brilliant altcrnoon sunlight
Nil lull m lirr lair, an.) I ail appallrd
when I saw how pair she looked.
"What It the matter?" I a%'..r i, .
ing to be (old 'bat the was ill.
"Oh, I'm juit tireil," she said; " *•
tirril I ilnn't care how I look."
I was so indignant that for a moment I
could not speak. There ii no possible ei-
cufe for such an attitude!
To make the best of herself is the con-
ceded duty of every woman, \oung or old;
and a modish gown means very little when
her complexion is uncared for.
"Come here," I aaid to her, "and let
me see what I can do for you."
First I used a vanishing cream, gently
patting it into the skin. This was I'
peian Day Cream. 1 always use this, N.r
it leaves only a faint creamy film on the
surface and holds powder and rouge so
well. Next a coating of the soft, clinging
Beauty Powder. Then a bit of rouge
blended downward and outward from the
cheekbone; dusting over all with a last
touch of the powder. And this I had done
to only one side of her face!
I turned her around to face the mirror.
You never saw anyone so surprised! She
looked and looked, turning from side to
•ide; and I don't wonder, for she saw two
entirely different girls, and one was so
much lovelier it seemed incredible.
"That is what you can make of your-
self every day, and it will take only a lew
minutes," I told her.
I couldn't help laughing at her aston-
ishment; she had never had an idea she
could be so pretty. She realized now the
mistake she had been making, and w atched
with the keenest interest, while 1 made
the other side of her face just as charming,
adding at the last a touch of Pompeian
Lip Stick.
She didn't say very much, but all the
afternoon I saw her eyes straying I
the mirror. I hoped then that she would
profit by my little lesson, and I know now
that she did, lor I've never seen her look-
ing pale and weary since.
e 192.1. Th« romp»i»n <•<
[tOiMA^M-
Specialist/ de Beaure
TEAR OFF. SIGN AND SEND
POMPEIAN LABORATORIES
2Ut Payne Avenue, Cleveland, Ohio
Gentlemen: I enclose loe 'a dime preferred) (or 1923
Art Panel of Marv Plckfon), and the four •
named in offer.
Addre--
Cit%_
y ,,... .-».,. , . :r. .
writs •rw.ir . •
(SLrty-seren)
The
Modern
Movie
Hero
Photograph hy Freulic
Time was when a motion picture hero was a
slender youth with beautifully creased trou-
sers, slick pomaded hair and a gentle winning
way. But a new sort has come into vogue —
he-man stuff and growing more popular all
the time. To the right is Eddie Sutherland a
brilliant young athlete of the screen. Above is
Reginald Denny the scrappy protagonist of
the popular Universal "Leather Pushers"
series
Photograph by Richec
Photograph by Evans, L- A.
Left is the newest
recruit to these
gymnastic heroes,
Charles de Roche.
Robert Ryan is
demonstrating the
toe hold to him.
It looks a bit un-
pleasant
(Sixty-eight)
J~~iOSES from the seven
M. exquiaite rf«nr»i given
by Marinoff am p/ir/ of"
nia training There i» a
Crrrian D«m-e. a Clammical
Toe Dane*, an Oriantal
Dance, a Butterfly Dance.
a ChmemeDance.a Spanish
Dance and a "Raitedy
Ann" Eccentric Dance
W
i
£>
Classic Dancing!
Now you can learn at home under the
personal direction of SERQEl MARINOFF
SOMETIME in her life, every girl, every woman has dreamed of dancing.
There is no more charming accomplishment — it is an important part of
the cultured girl's education. Whether you study it for professional or for
cultural purposes — or merely to enjoy the pleasant, body building exercises —
it will bring great happiness into your life.
And now you can learn dancing at home! Here is your opportunity to enjoy
the advantages of real ballet training under this great master. Anyone can
learn by this method. It is simple, easy, delightful. Marinoff has pupils of all
ages. He teaches every pupil individually.
Marinoff training is correct training. You could not get training like this except
in the studios of the greatest masters of the dance. Tarasoff has endorsed the
Marinoff system. Merriell Abbott, Director of the Abbott Dancers [Chicagc
Theatre, Chicago], says: "A beginner who knows nothing of dancing can learn
by this system." Marinoff training includes a complete outfit — a studio bar,
practice costume, slippers, phonograph records and sheet music. This is fur-
nished to every Marinoff student without charge.
Write
for free portfolio of dancers' pictures and full
information about training and the fees for
tuition. Merely send coupon. No obligation.
SW CUrcwi Man'nnff — SCHOOL OF CLASSIC DANCING
V« OCIgCl IVldrillUil 1924 Sunnv.ide Ave., Studio A- 127 Chicago. 111.
M. Sergei Marinoff, School of Classic Dancing
1924 SunnvsidV Ave., Studio A-l 27. Chicago
Please send me free portfolio ol dancer*" picture* and lull informa-
tion about your home study course in Classic Dancing. I understand
that there is no obligation.
Nam*.
Addrtts .
As,.
(Sixty-nine)
\ I be Movie Lncyclopd€cJici
Faithful Fan. — Here we are in the Merry Month of May.
Yes, Barbara LaMarr is playing in "Captain Apple Jack." Billie
Dove's right name is Lillian Dove. Yes, indeed, I always manage
to keep busy. Idleness is the key of beggary.
Caroline Sunshine.- — Robert Frazer in "Fascination." Ethel
Clayton and Malcolm McGregor in "Can a Woman Love Twice?"
Yes, Eileen Percy and Kenneth Harlan with Irving Cummings in
"East Side — West Side."
Dorothy F. — Well, we men only demand that a woman should
be womanly ; which is not being exclusive. Glad you liked the
chat with Pauline Garon last month. No, William S. Hart is
not living with his wife Winifred Westover. Jane Novak in
"Divorce." If I understand correctly, she's had one already.
Adam & Eve. — Please ter meet you ! As Addison says "As
vivacity is the gift of women, gravity is that of men." Yes,
Sarah Bernhardt was born in Paris in 1845 and died March 25,
1923. She was planning to make a picture called "La Voyante"
which was to be a story of her life, before she died. Malcolm
McGregor is not married. Anita Stewart married to Rudolph
Cameron, and Douglas Fairbanks was married to Beth Sully.
Tell Me.— Anything ! Well I have found out that folks who
never do any more than they get paid for, never get paid for
any more than they do ! Mabel Normand's last picture was
"Suzanna" and that is her real name. Mildred Davis at the Hal
Roach Studios, Los Angeles, Cal.
Chigo H. — Well I have learned that true wisdom consists not
in seeing what is immediately before our eyes, but in foreseeing
what is to come. Douglas Fairbanks is 40. Nigel Barry does
not give his age. That is very expensive stationery you use.
Pretty nice.
Margaret E. — Well I am glad to hear it, but as someone
once said, dont always be talking of your husband's devotion. It
makes less fortunate women hate you and the rest disbelieve you.
Joseph Schildkraut is 28. Yes, he is married, and is playing in
"Peer Gynt" en the stage. His wife was Elsie Bartlett. Write
me again, I liked yours.
Guillermo. — Of course you can get all the back numbers by
writing to our circulation department; 25 cents each you know.
Jacob E. — You say all married women are not wives — speak-
ing of bells, the Liberty Bell at Philadelphia was cast in London
in 1752 and when the bell reached Philadelphia it was cracked
when it was rung to test the sound, which necessitated recasting.
On July 4, 1776 the bell was rung for two hours by an old
bellman, who was so filled with enthusiasm and excitement that
he could not stdp. It weighs about 2000 pounds. Bobby Vernon
is with Christie Comedies, and he did play opposite Betty Comp-
scn when she was with Christie.
Betty Comtson Admirer. — Yes, address her at Famous Players,
1520 Vine St., Hollywood, Cal.
Just Teddy. — Yes, I am getting just one dozen dollars a week
for answering questions. Really. Yes, still live in the hall room,
and have my buttermilk daily. Thomas Meighan and Leatrice
Joy with Lasky. Priscilla Dean
with Universal.
Movie Fan. — I can see that. No
Ramon Navarro is not married, and
he is 24. ■ When you have learned
to make business a pleasure, and
pleasure a business, you have mas-
tered the science of living. I'm
very happy.
Natural Redhead. — Yes, tears
are the strength of women. The
plainest man who pays attention to
women will sometimes succeed as
well as the handsomest who does
not. Lewis Stone with Lasky and
Ramon Navarro with Metro. Bessie
Love and James Kirkwood are play-
This department is for information of general interest
only. Those who desire answers by mail, or a list of
film manufacturers, with addresses, must enclose a
stamped, self-addressed envelope. Address all in-
quiries: The Answer Man, Classic, Brewster Build-
ings, Brooklyn, N. Y. Use separate sheets for matters
intended for other departments of this magazine. Each
inquiry must contain the correct name and address
of the inquirer at the end of the letter, which will not
be printed. At the top of the letter write the name
you wish to appear, also the name of the magazine you
whh your inquiry to appear in. Those desiring imme-
diate replies or information requiring research, should
enclose additional stamp or other small fee; otherwise
all inquiries must wait th«ir turn. Let us hear from you.
ing with Mrs. Wallace Reid in "The Living Dead." Harry Carey
in "The Man From the Desert." Write me again.
Donica D. — No I am not planning to get married next month
There are plenty who are tho. But modesty in women is a virtue
most deserving, since we do all we can to cure her of it. Betty
Blythe has just finished "The Girl Who Got Everything." Leave it
to Betty. Francis Ford, Peggy O'Day and Jack Perrin in "The
Fighting Skipper."
H. Marie. — No record of the players you mention.
Brown Eyes. — Of course I am for the, I wont say weaker
sex, because they are much stronger than men. As Emerson
said "Women know at first sight the character of those with
whom they converse. There is much to give them a religious
height to which men do not attain." Pearl White has reddish
brown hair. Clara Horton in "The Call of the Wind."
Billie R. A. P. — Whow! You want the address of 18 players.
I'm about to expire. Is there no rest for the weary?
Mrs. F. F. Mc. — Oh I'm not such an old man that I dont sit
up and take notice. If you intend to live into old age, study
it while you are yet young ; and do not be an entire novice when
you get there. Bebe Daniels is not married. Victoria Forde is
Mrs. Tom Mix. Bebe Daniels and Gloria Swanson with Lasky.
Write me again.
Beautiful Iowa. — Beautiful letter, but all about Valentino.
Why not.
Olga. — Knowledge is power every time. Better that the feet
slip than the tongue. The tongue's not steel yet it cuts. Anyway
I cant hear you. Pola Negri is to start on "Don Csssar de Bazan"
just as soon as she finishes "The Cheat."
William G. C. — I'm sorry, but I cannot help you dispose of
your scenarios. Most companies are buying stage plays and book
rights. Send a stamped addressed envelope for a list of film
manufacturers.
Douglas McL. Admirer.— Drop your hat and somebody may
bring it to you ; drop your pocketbook, and somebody may carry
it off. Money fits any one. Here you are : Ethel Barrymore
born in Philadelphia in 1879; George Beban in San Francisco,
1873; Edmund Breeze in Brooklyn in 1871; Arnold Daly in
Brooklyn in 1875 and Arthur Ashley in Brooklyn in 1886. Miss
Dupont's first name is Margaret. She was Margaret Armstrong
ence. Yes, the "Hettontot" has been done in book form.
Louise S.— Interview with Richard Dix in February 1922 issue.
Sparky Dear.— Of course I take g09d care of myself. The
human system— mental, moral and physical — is such a large affair,
that it is hard to ruin it in all its departments ; but it can be done,
if you keep" right at it. Norma Talmadge is 27, five foot
two inches. Katherine MacDonald is five foot eight, and the
rumor that she was to be married is all off, so she says, and
she intends to be an old maid. Ha, ha. You know she was
Mrs. Malcolm Strauss once.
Lena T— Well I'd hate to tell you what I think of some of
the pictures. Rockcliffe Fellowes in "Stranger's Banquet." Ken-
neth Harlan in "The Girl Who Came
Back." Mae Murray and Ramon
Navarro with Metro.
Cutie Rosebud. — There are three
things that women throw away—
their- time, their money and their
health. So you want to watch out.
Address Mary Pickford at the
United Studio, 5341 Melrose Avenue,
Los Angeles, Cal. Nazimova is
playing in "Dagmar" on the stage.
Jerne Blue Eyes. — You are one
of those who seem to want this
department to be devoted to answer-
ing questions about myself. I much
prefer to remain in the background
and to be known by my works.
(Seventy)
What i i-.it, how i ileep, how long
peel i" ii\>\ die length ol nu I
the lite of mj iboet, etc., etc., will ell be
u'it on tiblei of itone for the benefit
,.! !*>>[< i !i\, but i«'t the pretenl I prefer
to retire Into innocuoui desuetude, ;is far
.••, myself am concerned, and devote these
previous pages to tin.- interests ol m
rherefore k null > shoo fly, donl bother me
Address l loyd Hughes at the fnc Studios,
Culver City, I
Cuuous Priscilla Dean is married to
Wheeler Oaktnan, Bryanl Washburn is
.id to Mabel Forrest and Dorothy
Dalton has been married to Lew Cody.
. Terry is playing in "Scararnouche."
I'nr Ki" So you want a name tor
your pfirls' club. What next Call it the
Chloris, the goddess oi flowers, or Kama,
the 1 [indoo god Of love.
Mari Movies. — Poor child you have
\our troubles with I'.liot Mae Murray at
Metro. 1 025 Lillian Way. Los Angeles,
Cal. Malcolm McGregor with Metro also.
Before marriage, woman is a queen; after
marriage, a subject. Tell me more about
your favorites.
JUST Ma.— Yes, indeed Elsie Ferguson
is playing in "The Wheel of Life*' on the
Stage. Of course I am always glad to
hear what you like in this magazine. \\ e
want to please you, you know.
Margaret S. — All the way from Liver-
pool, too. I say, old dear, you can get
a list of the correspondence clubs if you
send me a stamped addressed envelope.
Dont put an English stamp on the
envelope tho. Yes, J. Stuart Blackton is
back in this country, and I am glad to say
he is once more an officer in the Vitagraph
Company which he helped to start years
ago.
Dorothy. — You say men would be
saints if they loved God as they love
women. I confess. Yes, Ethel, Lionel and
John Barrymore are brothers and sister.
Xo, Valentino will not be seen in pictures
for two years.
Acnes C. — By "Iris In" we mean when
you see just a small part of the film thru
the lens, and gradually you see the whole
picture on the screen. Fox is going to
produce "The Fool" for the screen. Vir-
ginia Brown Faire in "The Vengeance of
the Deep" with Ralph Lewis. Tom Moore
is coming back to the screen.
S. Moxty. — Why I believe it was Mar-
shall Xeilan who discovered Wesley
Barry'- Alice Brady with Lasky. Lillian
Gish not married. John Bowers was the
policeman in "Manslaughter." David
Powell is with Famous Players and Theo-
dore Kosloff is playing in "Children of
Jazz."
Little Rose; Ditto Dotty; Galee P.;
Doris Rose; Frances S. ; Doris M. ; Miss
Bloomer; Marjorie M.; Pete; L. C. ;
Helex M. ; Lorraine; Jewel and Vaud-
v.u.LiAN — Sorry to put you in the also rans,
but your questions have all been answered
above.
Murrel from Baltimore. — Well, La
Rochefoucauld says, "It is valueless to a
woman to be young unless pretty, or to
be pretty unless young." I dont agree
with him. I know lots of pretty women
at forty-five. •"Glimpses of the Moon"
will be released soon. Lon Chancy is with
Universal. Shirley Mason with Fox, and
Viola Dana with Metro.
Us Girls— Hello, girls. You want more
of Joseph Striker. I'll tell the Editor.
Captain Joe.— You know that Balzac
said, "The man who enters his wife's
dressing-room is either a philosopher or
a fool." Take heed, young man. Robert
Leonard is Mae Murray's husband. Xo
children for the Meighans. Gloria Swan-
son in "Bluebeard's Eighth Wife."
Irene P.— Monte Blue will play the
(Continued on page 72)
)<S)
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Osgood Perkins in his picturesque role in the Film Guild
production of "The Scarecrow" promised for early release
The Movie Encyclopaedia
(Continued from page 71)
doctor in "Main Street." Madge Kennedy
will do "The Purple Highway" when she
returns from Japan. So you would like
Miss Dupont to use her first name, rather
than Miss. Glad you like Classic.
May F.- B. — Universal City and Holly-
wood are very near each other.
Margaret N. — Be sure that your husband
carries each day the impression that he
left at home that morning the most charm-
ing, cheery, freshly gowned woman in the
city. Leatrice Joy is with Lasky. Col-
leen Moore with Vitagraph. Richard Bar-
thelmess was born in New York in 1897.
Baby Peggy is with Century Comedies,
Los Angeles, Cal.
Jane Acer. — Leatrice Joy is married to
Jack Gilbert, and her last picture was
"Minnie."
Grace D. — The popular belief that it is
unlucky to spill the salt probably orig-
inated from Leonardo da Vinci's picture
of "The Last Supper," in which Judas
Iscariot is represented as spilling the salt.
Or da Vinci may have so painted it to
embody in his picture a -then popular super-
stition. A gift of bread and salt was a
token of friendship; salt was a sign of
amity ; so spilling a man's salt may have
betokened enmity. Enough about that.
Lloyd Hughes with Ince. Clara Young
does not give her age.
L. M. L. — Thanks. I am glad you trust
me. To be trusted is a greater compli-
ment than to be loved. No, William Dun-
can is not dead. Charlie Chaplin in "The
Pilgrim."
W. A. D.— No. She never does. Betty
Compson is not married. Glenn Hunter
has signed a five-year contract with
Famous Players-Lasky.
Peggy O. — So you dont want Pearl
White to enter a convent. No, neither do
I. Last report, Blanche Sweet was still
living with her husband. Malcolm Mc-
Gregor is playing opposite Ethel Clayton
in "The Greater Glory-"
Alice A. — Of course, I am over seventy
years old. My beard isn't that old, tho.
Elaine Hammerstein is an American. She
is twenty-six ; address her at the Selz-
nick, United Studios, Los Angeles, Cal.
Brown Eye Billey. — Yes, Betty Comp-
son is twenty-five. Vincent Coleman is
married to Marjorie Grant.
Suffomore. — You're right, the whisper
of a beautiful woman can be heard further
than the loudest call of duty. Betty Comp-
son is playing in "The White Flower," and
Pola Negri in "The Cheat."
Florence Mc. — Yes, Norma Talmadge
is twenty-seven. Gareth Hughes played in
"Kick In." His right name is Ramon
Sammanyagos. Lila Lee opposite Thomas
Meighan in "The Ne'er Do Well." Valen-
tino was born in Castellaneta, Italy.
Blonde; Margaret R. ; F. B.; Arline
G. ; Petie; Butter Cup; Buffalo;
Donah ; Katherine MacDonald Ad-
mirer; Betty H.: G. H. ; Walter Bebe
Daniels; Jeanne E. ; Peggy; Thais;
Irma T. ; April K. ; Wanda P. ; Molly
O.; Katherine; Pat; Eleanor A.; B.
B. ; Blue Eyes; Nan; Dorothy F. ;
Ruth O. ; Movie Fan ; Billie A. ; and
Jazimova Sorry to put you in the also-
rans, but your questions have been an-
swered up above. Write me again.
North Rustico. — Yes. some movies do
cost as much and more than $2.00 a seat
in New York Citv. You were right.
(Seventy-two)
Flashes From the Eastern Stars
ontintttd from pagt 53 •
the difference In their sizes in the
picture yen will remember thai tlu-
waa prett) brave Wolheim ia a
giant of ovei twi> hundred pounds
and Marion is a slender ^hp of a
Pr1, . •
rhe next misfortune was that ;ill
the mules employed gol a bad case
of Kleig eyes! Oi course they
wouldn't work and production \\a>
held up for two days until they could
find sonic blind mules which would
serve just as well.
Balieff's Chauve-Souris, thai glori-
ously original Russian Vaudeville
has passed its five hundredth per-
formance. Not a word of English
is spoken at these performances,
which makes it a rather remarkable
record.
Gloria Morgan, daughter of one of
our richest and finesl families who
recently became the bride of Regi-
nald C. Vanderbilt, has a small part
in "Enemies of Women" a Cosmo-
politan picture now running on
Broadway.
Robert J. Flaherty. F. R. G. S.,
producer of ''Xanook of the North,"
has left for the Samoan Islands to
film for Paramount a South Sea
picture similar in treatment to the
Eskimo production. He was guest
of honor at a testimonial dinner at
the Waldorf given by the publisher
and editor of Asia Magazine. Lloyd
Griscom. former U. S. Ambassador
to Japan, was toastmaster and the
guests included people prominent in
motion pictures, art, literature,
science, journalism and public af-
fairs.
After five postponements of his
sailing date brought about by the
success of "The Fool," Channing
P'ollock will actually go to France
late in April for the production of
"The Sign on the Door" at the
Renaissance Theatre. The French
version of "The Sign on the Door"
has been made by Andre Pascal
i Baron Henri de Rothschild) and
the role of Mrs. Regan, played here
by Marjorie Rambeau and in Lon-
don by Gladys Cooper, will fall to
Louise Gauthier.
WHY
By Margaret Mayfield
I'm not
Particularly beautiful, charming or wise,
B"t when I asked you why you loved me,
\ ou said : Because you are
Adorably pretty, charming and wise !
I wonder why?
It was a pity
no one told him
HI", was an honor man in his class at college — popular
with every one — giving promise of carving his notch
high up on the ladder of success.
An unusual business opportunity came his way shortly
after he was out of school — better than most young men are
fortunate enough to secure. He certainly started out with
a bang. Every one remarked about it.
• • * F|ve years passed. Howard Chapman, who had set out
so brilliantly, was still almost precisely at the point where he
started. Other young men' who hadn't nearly his opportunity had
out-distanced him each year.
What invisible thing was it that held Chapman back? Some
of his closer friends undoubtedly knew but didn't have the heart
to tell him. It was really a pity.
That's the insidious thing
about halitosis (unpleasant
breath). You. yourself, rarely
know when you have it. And
even your closest friends won't
tell you. .
Sometimes, of course, halitosis
comes from some deep-seated
organic disorder that requires
professional advice. But usually
— and fortunately — halitosis is
only a local condition that yields
to the regular use of I.isterine
as a mouth-wash and gargle.
It is. an interesting thing thai this
well known ant- his been
in use for yeari for surcica' dress-
ings, possesses these peculiar i roper-
ties as a breath deodorant. It halts
food fermentation in the mouth and
leaves the breath sweet, t'resh and
clean. So the s\stem.itic use of
I.isterine puts you on the safe and
te side. You know your breath
is right. Fastidious people every-
where are m;ikmg it a regular
of tli.'ir dail) routine.
with I.isterine. He sells lots of it.
It has dozens oi different uses as a
safe antiseptic and has been <•
as such for a half a cental
that
conies uitl- every bottle
Pharmacn.
U. S. A
HALITOSIS
use
LISTERINE
Seventy-three)
Your Figure
Was Charm Only as You Are Fully Developed
BEAUTY OF FORM
can be cultivated just the same as flowers are
made to blossom with proper care. Woman,
by nature refined and delicate, craves the
natural beauty of her sex. How wonderful to
be a pel feet woman]
Bust Pads and Ruffles
never look natural or feel right. They are really
harmful and retard development. You should add
to your physical beauty by enlarging your bust-
form to its natural size. This is easy to accomplish
with the NATIONAL, a new scientific appliance that
brings delightful results.
FREE BEAUTY BOOK
II you wish a beautiful, womanly figure, write for a
copy of the treatise by Dr. C. S. Carr, formerly pub-
lished in the Physical Culture Magazine, entitled:
"The Bust— How It May Be Developed." Of this
method Dr. Carr states:
"Indeed, It will bring about a develop-
^»y merit of the busts quite astonishing."
This valuable information, explaining the causes of non-development, together with photo-
graphic proof showing as much as five inches enlargement by this method, will be sent FUEE to
every woman who writes quickly. Those desiring book sent sealed, enclose 4c postage.
THE OLIVE COMPANY
Dept. 210
CLARINDA, IOWA
The American Beauty Has Been Chosen!
At last the difficult task has been completed. Too late for
editorial space in this number the judges named the winner of
the American Beauty Contest which has been conducted in the
four Brewster Publications.
Next Month You Will Know Who She Is
Already the cuts of her new photograph have been made and
the story about the judges' final decision is now being prepared.
So, without any doubts, the announcement will appear in the
July number.
There Are Honorary Mentions Too
Of course the winner was selected from a certain few and the
remaining members of that select group have been given hon-
orary mention
Dont Miss The Judges' Decision
in
&/>e July Motion Picture Magazine
HOW TO OBTAIN A PERFECT LOOKING NOSEI
HIS DAY AND AGE attention to
r appearance Is nn absolute neces-
If you expect to make the most
life. Not only should you wish to
r 11 k attractive as possible, for
own self-satisfaction, which Is alone
vorth your efforts, but you will flud
orld In general Judging you greatly,
wholly, by your "looks," therefore
1 "to look your best" at all times.
no one to see you looking other-
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impression you constantly make rests
ilure or success of your life. Which
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M. TRILETY, Face Specialist 1897 Ackerman Building, BINCHflMTON. N. Y.
Also For Sale ol First (last Drug Stores.
Little Old New York
(Continued from page 31)
A Patricia in poke bonnet and
frilled gown was hard to deal with.
A trembling girl who told her ex-
traordinary story truthfully and tear-
fully managed to move the Town
Council more than it would have in-
dividually been willing to admit. A
timid fluttering bit of femininity who
sat beside and held the hand of the
man whose fortune she had Stolen
presented an ethical problem that was
too much for the Town Council. Its
moral sense had been outraged. Some-
tiling assuredly must be clone.
But what?
Finally old John Jacob Astor came
to the rescue of the Town Council's
dilemma. Larry and Pat — er — Miss
Patricia would better take a trip to
England until things blew over. He
personally would see that there was a
minister on the boat to marry them.
Larry and Patricia looked at each
other in joyous surprise. This was
the best news in the world for them.
Later, in Patricia's own garden —
rather Larry's own garden — or — er —
that is — Larry's and Patricia's gar-
den, Patricia murmured something
about the luck of the Irish. "And
anyway," she added, "the money is
just as much mine now, as tho it was
really mine."
Which cryptic utterance Larry
seemed to understand very well, be-
cause he said, "Perfectly right Paddy
darling — as long as you take me with
it."
The Hollywood Boulevardier
Chats
(Continued from page 66)
companions had been entertaining
themselves during the afternoon by-
trying to kill the jail matron.
Richard Walton Tully is bringing
over a French actor, Maurice Ca-
nonge to take the part of "Zouzou"
in Trilby. A Parisian actress, Mile.
Lafayette will take the part of
Trilby.
* * *
As an indication of the present
scarcity of actors, Tully Marshall is
acting in four pictures at once ; he
is Louis XT in "The Hunchback of
Notre Dame" ; Professor Futvoye in
the "Brass Bottle" ; the hermit in the
"Talisman" which will be the first
picture to be made by the new Frank
Woods producing corporation and
has a part in a play called "Twenty
Dollars."
(Scvcnty-faur)
imagine 1
v Lunch With Gl >ria
mtinutd from page 3 I )
tabic at which sat most of the distin-
guished high-salaried scenario writ-
of the motion picture industry
"The) will nol lei an author tell a
j that is like lif<
"But would the public like real life
as it really is?"
"I wonder," Gloria mused. And
then she added. "Of course they
wouldn't believe it.
wouldn't believe it myself.
"For instance there is my director.
Sam Wood. The other night he was
held up on the street by some ban-
dits. One of them poked a revolver
against Ids ribs and told him to
throw up his hands. Sam said they
could kill him if they wanted to but
he'd be darned if he would throw
up his hands. Could you make any-
body believe that on the screen — a
young fellow with every brilliant
promise in life, ready to die rather
than to hold his hands up over his
head? The bandit couldn't believe it
himself apparently, lie ran away.
"Just so. yon see every actress
on the screen make wild clutching
gestures in moments of great trag-
edy. Of course that is contrary to
nature. Fear, terror, dismay are all
emotions that contract. If you are
really and truly terrified you cant
scream: your throat contracts. Your
shoulders sort of hunch into your
body : yon grow small : you shrink,
"i hie time I saw a man being sen-
tenced to be "hanged. lie didn't do
the way they do on the screen. lie
acted like an embarrassed boy who
has to speak on Friday afternoon at
the high school, lie had a dinky lit-
tle hat which he kept fingering in the
most careful and painstaking way.
When it was over, he slid back into
his seat as tho being hanged didn't
matter so much if he didn't have to
stand up in the presence of a crowd.
"Some daw 1 imagine, some great
screen genius will come along and
discard all these conventionalized
methods with one gesture."
"At that." said Gloria, with a sud-
den change oi tone. "I want t
on the speaking stage some day."
"So that's the big ambition'"
"The big ambition is twins." said
Gloria. "1 want to be a great actress
in plays that have words and I want
to lie a really successful mother. If
you could see that baby of mine,
you would realize that she is my
masterpiece. She is the sweetest . . ."
But when these young mothers
start like that, experience teaches us
that it is high time to look at the
watch and hustle back to the studio.
or?
enf
vers
of the On\
— a mv9tic fragrance of Oriental flowers.
,nj~ This rare bouquet i- only one of many delight-
fa] Colgate perfumes from which yon may (boo-.
vour favorite — all blended with exquisite care
from the finest essences the world produt
Throe little vials of perfumes, with jn interesting l>«>"k-
!■ i trl line how to < -h< ><•-.- i perfume thai fits your personal-
ity, «i!l be sent you for a 2<- .-tamp to cover |">-tage.
COLGATE & CO.
Depl. tS
199
PARIS
FULTON > I.
■ YORK
(Seventy- five)
>I. \i 35 the lips of your
at the lop of
each cheel bone, Tush gently up-
ward.
The sagging of the cheeks disappears.
Your Angers are doing the wort thai sag-
ging, pulled-out. weakened muscles should
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DR. THOMAS LAWTON
120 West 70th Street,
New York City. Dept. 2S6
Ask Ziegfeld==He Knows
Flo Ziegfeld is a genius when it comes to picking
American beauties. His Follies are famous for
their girls with perfect faces and figures. How
he selects them is told by Mr. Ziegfeld to Gladys
Hall in July BEAUTY.
Wouldn't You Help Her Too?
The young girl who stands with reluctant feet —
waiting for some one to give her proper attention
is going to be considered at last. Beauty is a vital
thing in her life. Give her a chance to come into
her own. Read about it in July BEAUTY. The
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thought.
Do Clothes Intrigue You ?
Then you will not want to miss the display of
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Buy July Beauty on the news-stands June eighth
Beauty Secrets for Everywoman
:>
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TRADEMARK KEG.
BATHASWEET
Half Chinese and Wholly
Lovely
{Continued from page 41)
half caste children. Somehow or
other, she met the wife of a movie
director at a party and . . . Well,
of course, you can guess the rest.
"'Say something in Chinese," I
challenged.
"I — I cant, I dont know any."
"You ought to be ashamed of
yourself."
"I am."
And then she explained. "I used
to speak Chinese when I was a child,
but somehow I got out of the way
of it. I am awfully proud of my
Chinese blood tho. It gives me a
little thrill of pride when I hear some
one say: 'She looks Chinese.'
"It seems to me sometimes as tho
I were two persons. Especially when
1 get angry. My mind seems to be
French and I get all stirred up. Then
way clown in my soul something old
and oriental seems to say to me
"There, there, child, it doesn't matter ;
nothing matters.' And I calm down
again. It seems as tho the European
side of my nature kept suggesting
things for me to do and the Chinese
part of me sat in critical, calm judg-
ment on the project."
"Everything in the world seems to
have been discovered by the Chinese.
I suppose they had motion pictures a
couple of million years before we ever
heard of them," I suggested.
She laughed. "Well I wouldn't say
that ; but it is true that my father's
people were telling stories in the mo-
tion picture way when your father's
people were wandering around killing
animals with their hands and tearing
the raw meat with their teeth."
???????
"Well," she answered. "Telling
stories by pictures is merely getting
back to the realms of suggestive art.
That is to say, discarding words
which are an impediment to the im-
agination of the hearer. The Chinese
have been telling stories that way for
countless ages. For instance, Chinese
poetry eliminates this clutter of
words. A Chinese poem will only
indicate the symbols upon which the
imagination is to fasten itself. A
poem will read like this:
"A tower
"A dark lake
"A Woman's face at a window
"Villain lurking in shadow.
"Lover with lute, etc. etc.
"If that isn't what they call 'Pic-
ture stuff' then I dont know what is!"
What I answered was, "fust in-
deed."
What I was thinking was, "Girl,
if you aren't picture stuff, then I
dont know what is."
(Seventy-six)
I
The Heavy
ontimttd from page 37)
right side of the fence, despite my
questionable personality, I trusl my
audiences will be more kindly in
their thoughts of me."
\t this time Mr. Torrence is
working with Lon Chanej in "The
Hunchback of Notre Dame," at the
Universal studios. This will l>e a
mammoth production and will keep
liim bus) for months. In this picture,
our erst-while comedian will be seen
as a king of the Paris underworld.
"I wouldn't return to the speaking
stage— or to the East, for worlds,"
laughed this versatile giant. "We
are building our home here now, out
at the end of Hollywood Boulevard
just ;i- you enter beautiful Laurel
Canyon, and where the gorgeous
mountains will greel us continually.
Outside of my work at the studios,
my <mly interests are home, my
piano, nn golf, and my family. We
indeed a happy three."
Then 1 was introduced to "num-
ber three," Ian (O.K.) Torrence, a
sturdy lad of fifteen who will soon
be as unbelievably tall and firmly
knit as his father.
Mr. Torrence is a native of Edin-
burgh, Scotland. Following years
of study in piano and voice at Stutt-
gart, Germany, he taught music in
his home town. Then came further
study at the Royal Academy of
Music. London, where he was
awarded the Westmoreland scholar-
ship, and a gold medal for opera.
It was following this training he
began his stage career in comic
opera, and appeared in the last work
of the famous Sir Arthur Sullivan,
just prior to that writer's death. For
ten years he played at the Savoy.
Lyric, Gaiety, and Adelphi theaters
in London and in the provinces. In
1911 he came to America.
"Those ten years were rilled with
hard work, many disheartening ex-
periences, and utter misery at times."
Mr. Torrence said dreamily. But
my coming to America brought great
luck. My first appearance in this
country was for Al Woods, in 'The
Only Girl,' and 'The Night Boat.' I
was with the latter when I got my
chance for pictures."
So when you see Ernest Torrence
again, tho he may be cruel to the
"nth" degree, remember the many
steps he has taken to reach his goal.
First as a musician, then a singer, an
actor, a comedian, and now a heavy.
Admire him for his perseverance
and undaunted ambition, which
nothing could kill, even tho it landed
him in the hardest role of his life.
O. yes indeed. "One may smile
and smile, and be a villain !"
m
a
i
You Must Fight
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DERT is a Cream rouge, which means that
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PERT lasts all day or evening until you
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Send a dime for a generous sample of PERT
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The Madness of Youth
( Continued from page 57)
him, stripping off her mask. "I
wondered what had become of you,"
she said. "So you're here, Louise."
Javalie spoke without surprise. The
dancer nodded. "Yes, I'm here. What
are you going to do about it ? After
all, Jaca, did you suppose that you
could do what you did do to me
without ever hearing of it again?"
"What do you consider that I
'did' to you?"
"The writers of fiction would say
that you had broken my heart. As
I probably have none, you have
merely made me hate yen." She
laughed, mockingly. ( How differ-
ent from the delicate mockery of
Nanette!) "How funny you look
in your religious rags !" she said.
"How funny it will be when I tell
them who you really are !"
Javalie leaned toward her.
"Please," he said, "dont do that.
I've been waiting three years for this
chance. Dont spoil it. If I'm suc-
cessful', and T will be if you will help
me, I'll divide with you . . . I'll . .* .
I'll go away and marry you . . .
only let me get the money in that
safe! Later, after your dance, I'm
going to speak to the guests. I want
in make my final effect. They be-
lieve you a famous vampire. Help
me . . . pretend that you are a
convert to my spiritual fervor.
Think, Louise, money and a far
country . . . think!"
Louise looked at him, narrowly.
If be had been thinking of her per-
sonally he would have seen that he
was safe. There was love of him in
her eyes. She nodded. "All right,"
she said, "speak your little speech,
Jaca, and I'll pretend that you've
saved my soul."
Javalie spoke to them. He stood
on the balcony with the summer
winds ruffling his sacerdotal rags and
the moonlight encircling his head
like a halo. He told them he was
speaking, not of religion but appeal-
ing to their better selves, to the spir-
its that lived in their bodies, to their
hearts. . . . The faces looking at
him were stirred and strange when
be had finished. Old Theodore P.
Banning kept clearing his throat.
Nanette shifted from one foot to the
other and her eyes ceased their
mi H-king and became tender and ab-
sorbed. Under cover of the rose-
bushes Ted moved nearer to his wife
and was silent while she told him her
sweet secret. And at the very end
the beautiful dancer stepped from
the »roup and knelt beneath the bal-
cony where- Javalie stood. "I want
lo ask forgiveness of my sins," she
pleaded. She could have had no
more emotion if she had been in
earnest. What an actress she was,
Javalie thought, and his fine lips
curled.
The Banning estate was quiet with
sleep. Theodore P. alone was awake,
sitting in his library pondering the
events of the evening. To him came
the holy man. Javalie. "Why dont
you go to bed?" be asked his host,
"you look tired . . . worn." Ban-
ning nodded. "I am," he said. Javalie
stood before the older man and
passed his hands over the grey head.
"Then sleep," he began to intone,
"sleep . . . sleep . . . sleep . . ."
Banning relaxed and closed his eyes.
When his breathing was quiet and
his hands limp Javalie took him by
his arm and led him softly to the
great vault in the other room. "Open
this," he commanded and, automat-
ically, perfectly, Banning obeyed.
As he did so. Javalie jotted down the
combination in a note-book and then,
as quietly, led the tranced man back
to his chair.
Javalie's mission in the Banning
home was complete. Where was the
victory? Where the wine of tri-
umph ?
As be turned to leave the room,
the older Banning being now relaxed
into normal, quiet slumber, he found
Pete Reynolds waiting for him. "So
that's your game, is it?' he asked.
grimly,
"thought
so. I've been
watching you.
Javalie nodded. "A crook/' he
said. "yes. One of the best. Are
you going to spill the beans?"
"I might not." Reynolds said, "for
a — consideration."
The two men entered into an
agreement, and Javalie promised to
have the money extracted within
twenty-four hours.
The only person who did not sleep
in the Banning home that night was
Jaca Javalie. The only man who
could find no peace was the man who
had brought peace to the household.
Tn the morning Ted came to his
father and told him that he was go-
ing away with his wife to work for
her with his own hands. Javalie
had showed him what he was doing,
he said. He wanted to "begin
again ..." He thought that he
could. Old Theodore P. took his
grown son info his arms and kist him
as he bad not done since Ted was a
boy. "I'll build you a house, son."
he said, "and you can start in that."
{Continued on page 80)
(Seventy-eight)
NoWonder Rouge Never Gave
a Natural Color !
But at last Science has solved the \
baffling Secret of Nature's own
lovely flush /
SCIENCE now discloses thai no
known shade of purplish red —
the familiar color of rouge— can
ever duplicate Nature's perfect ar-
tistry. Xo matter how skilfully rouge
IS applied, the task is impossible.
In creating the wonderful new
Princess Pat Natural Tint, the ureal
handicap of rouge came to lii/ht ! The
startling discovery was made that to
obtain perfect results, such as Nature
gives, the color used iiu<si positively
change upon the skin after it is ap-
plied. Xo wonder, then, that rouge
never gave a natural color!
No more amazing development has ever
been accomplished in beauty's name than
the finding of Princess Pat Tint. No
more fascinating story has ever been told
than the long search by a famous English
Scientist for the mysterious "X-Tint"
which should duplicate Mature.
Like many gr°at discoveries, chance
gave the inspiration and a happy accident
brought about the final triumph. Chance
led the famous creator of Princess Pat
Tint to banteringly criticize the tell-tale
rouge upon the cheeks of a feminine
acquaintance. She in turn challenged her
critic to use his vast store of know!
to produce something better. Thus ;i
scientist turned his hand to a task which
had baffled the cosmetician since rouge was
first used.
Search was made first for some actual,
definite color, which would simulate the
marvelous beauty of Nature's handiwork
when the cheek is divinely mantled with
soft pink and creamy white. Time after
time the attempt was made to perfect
ordinary rouge, to so modify the familiar
purplish red that it would appear natural.
But with every resource of science avail-
able, the effort proved futile.
Rut the scientist worked on, with his
assistant the subject for experimentation.
Casting aside red tints as impossible, hun-
dreds of differ-
ing shadings of
delicate
were used. Many
were an improvement,
but none perfect.
Then accident step-
ped in, and bj
chance a rare and
costly ingredient was
nied. The result was
an unknown shade of
delicate orange, beau-
tiful indeed, but nol the color one would
ordinarily select to match Nature's per
feet complexion.
Idly enough, this new shade was tried
upon the assistant's cheeks. And then a
wonderful thing happened, Instantly the
coloring underwent a subtle alteration. The
orange tint changed upon the shin! The
scientist exclaimed in amazement! For be-
neath his startled gaze there had appeared
the absolute perfection of Nature's own
coloring, the blending of delicate pink and
white that marks the transparent beauty of
the famous English Complexion. The amaz-
ing "Million Dollar Beauty Secret," Prin-
cess Pai Tint, had at last been discovered.
Princess Pat Tint Is Waterproof !
Still the scientist was not satisfied. He
determined to make this new tint water-
proof. And such wonderful success at-
tended his efforts that one may actually
go in bathing without the slightest impair-
"The Amazing Million Dollar Beauty
Secret Had At Last Been Discovered"
ment of coloring. Princess Pat Tint on
the cheeks will not run or streak, even if
rubbed with water. Perspiration does not
affect it. Yel it vanishes instantly beneath
a touch of cream or the use of soap.
Princess Pat Tint comes in only
shade, of course: fur the one shade /'lends
perfectly with mplcxionl It
perfect in daylight as under artificial light.
So it is no wonder that Princess 1'at Tint
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very woman
who reads this ad-
vertisement.
— the New, Natural Tint — Always Ask for It By Nairn
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Face Poivder — Ice Astringent — Princess Pat Perfume
Mail This Coupon 1701717
For Generou: Sample A, 1\ J_J J_J
I
■ PRINCESS PAT, Ltd.
Dept. 46, 2701 South Park Ave., Chicago
ENTIRELY FREE, pli
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I te (Print)
I StTeet . .
I City an'!
(Seventy-nine)
WL. DOUGLAS
NAME AND PORTRAIT is the best known shoe
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Ernst Lubitsch Had No
Traditional Ideas About Mary—
That is why Harry Carr's story with this European director,
who after his continental success has come to America to direct
Mary Pickford, is so unusually interesting. And besides dis-
covering just what Lubitsch thinks of America's Sweetheart,
Harry Carr gives you a vivid impression of the dynamic little
master-man himself. . . .
Also there is a fascinating story as told by Harold Lloyd's
. mother about the screen bespectacled comedian as a boy in the
rural towns of the Middle West. There are any number of
pictures showing him thru the early years of his life. And
there are countless amusing incidents about his boyhood.
And, if you are interested in amateur theatricals, the July
Motion Picture Magazine will be of untold help to you.
It contains the first of a series of articles on the Little Movie
Theaters in America. It advises you how you can go about
establishing an amateur movie company in your town. And
these articles are written by experts who have already over-
come all the difficulties which would arise in an undertaking of
this nature.
There are pages upon pages of new pictures too — and the
latest news — and more good things generally than there is
room to talk about.
X5he July Motion Picture Magazine
On the Newsstands June 1st.
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The Madness of Youth
(Continued from page 78)
In his room Javalie was reading a
note from the dancer, Louise. She
told him that the joke was on her.
That last night, in the garden as she
had knelt at his feet, the game had
suddenly become reality to her. The
words she had meant to say with her
lips had come, somehow, from her
heart. "She was going away, back to
her own people. ..."
Javalie was strangely shaken. His
two natures rose and fought within
him. He had, like Louise, come to
this house to play a skilfully con-
trived role, and lo, like Louise, too,
the role had become reality. These
people had accepted him. His ex-
hortations had come true. He felt
suddenly defiant. He would shake
off this weakness, this softness, that
had come to him as to the whole
household. He went unsteadily from
his own room to the vault room.
The family were in the garden. He
would accomplish his mission and
steal away. It would all be over, the
moonlight, Nanette . . .
The vault room was heavy with
silence. He had the combination
clearly before him, but somehow the
room revolved. He couldn't seem
to see very well, to stand very firmly.
He gave a little moan and fell to the
ground in a sorry heap.
When he came to, he was in Na-
nette's arms. The elder Banning was
standing over them. Young Ted was
speaking. "A common thief." he
said, "I'll phone for the police. Dad."
But Nanette held him closer. "Dad,"
she cried, "Why, Dad, dont you sec?
In saving our souls, he has saved his
own !"
The elder Banning nodded.
"I
think that's true, Ted," he said to
his son, "I think Nannie is right. . . ."
Little Madame Jeanne caught her
husband's hand, "That is right, Ted,"
she said, softly, "ah, dont you feel
that it is, dear?"
Javalie had risen to his feet. His
white face corroborated them all.
Nanette, sobbing, clung to her father,
"Dad . . . Dad ..." she cried, "I
... I love him . . . the real him
. . . the him that saved us all . . .
dont you see?"
Javalie raised her hand, and kist
it, and was still. They had their
right to judge him . . . these people
whom he had saved and would have
robbed.
Ted and Jeanne were silent, too.
The elder Banning took his daugh-
ter's hand and placed it in Javalie's.
"I see, Nannie," he said, "I think I
see. ..."
(Eighty)
I reign Films
I ^ ontinued from page 2
'Polikuschka" i rom the stor) ol I .eon
r/olstoi featuring the famous Russian
artist Moskwin who, I am informed,
is at present in America. The other
sts figuring in this photoplay be
long tn the famous Russian compam
Stanislavski.
ITALY
I have not very much to say about
Italy as iu> changes of particular in
teres! have happened there since I
wrote my last article. If I tell you
what I have seen during my different
visits to that country you may judge
better what the situation is.
1 it us >tart with Rome, some
months ago, just when we heard that
the second industry in Italy was pic-
ture production. Let us enter a shop
called "< Md England" and go to the
top Hour where one can get tea and
other refreshments. At the time of
which I am speaking we could find
mbled at different tables pro-
ducers, artistes and other cinema fans.
Let us approach a table, by chance,
and be indiscreet and hear what is
said.
./ producer. — I dont know what to
do. Miss X (here the name of
a well-known artiste) has promised
to appear in one of my pictures and
when I told her that 1 had reserved
for her the role of the girl who be-
comes old she refused to play. And
yet the role is a first class one. She
replied: "Well, 1 always want the
public to see me young and not old."
And do you know, old chap, con-
tinued the producer, the oldest part
she will take in the picture does not
give her true age. She is to play
Miss F in my film and appear
thirty-five and she is now. well, I
think she must be nearly forty.
Another producer. — Well you can
arrange that. Try to make your
heroine twenty-five instead of thirty-
five and things will he settled. But
what about me? My leading lady
left me and she has formed her own
company, do you understand? It is
not a question of age.
Now. my dear reader, let us leave
our tea shop as we have heard enough,
in fact, more than we could learn by
many visits to the studios and better
than by interviewing many people.
GERMANY
Before the war. Germany had al-
ready some good stars. Among these
was Asta Neilsen an artiste who was
said to be of Danish origin. She ap-
peared principally in German films
and made wonderful creations, one of
her best successes being "The Down-
fall." What I remember of this film
which I saw more than ten years ago.
Pomdby L/oit Wilson, at-
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(Eighty-one J
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JV C. J. MUSSEHL,
is that it was the story of a stage
actress or dancer.
Now, I understand that a new film
has been made which has the same
name and which tells us the story
of a young actress whose first hus-
band has been very cruel to her and
who falls to such a low state that she,
who was once a beautiful woman, is
not even recognized by the man she
loves after some years during which
she has been separated from him. I
do not think this to be the plot of
"The Downfall" which I saw before
the war, but it has a certain likeness.
Hungry Hearts of Hollywood
(Continued from page 20)
a sea tramp. But he happened to get
started on Western stories and made
such a success that the public will not
accept him in any other kind of
stories. So that's that.
Monte Blue wants to be a director.
Every time he gets out in front of a
camera, his heart aches with longing
to be on the other side of the instru-
ment telling some inspired actor how
to do it.
Helen Ferguson wants to be a short
story writer with her name adver-
tised in the magazines. It might be
that she will fulfil her ambition.
Marie Mousquini, down at the
Harold Lloyd studio, has a curious
jambition. She wants to be a busi-
ness woman. She never had the
^.lightest idea of being an actress. She
got a job in the business department
of the Roach studios and she was so
pretty and attractive and general col-
orful and had so much personality that
they dragged her away by main force
and put her in front of a camera.
She never has gotten over the han-
kering to be a business young lady
with a lot of carol index stuff lying
around — a stenographer — no not a
stenographer, probably a dictograph
— at her elbow — sales charts with col-
ored pins and all such junk.
Charley Ray wants to be a producer
of stage plays. His movie career is
just a stepping stone to Broadway.
Some day he will be a David Belasco
with a wistful, sad smile and teaming
millions trying to get into his theater.
Jackie Coogan endures fame and
wealth because he knows that he still
has time enough before him to gain
his life's ambition which is to be a
fireman. Not just an ordinary fire-
man tho. Jackie aims high. He will
be satisfied with no other station in
life except to be the fireman who sits
up in the poop deck of a hook and
ladder wagon and steers the machine
down thru the traffic, making all the
limousines climb up on the sidewalk
to get out of the way.
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UNIVERSAL SCENARIO CORPORATION
940 Western Mutual Life Building, Los Angeles, California,
Publishers Scenario Bulletin Digest
Send for free sample copy.
STATEMENT OF THE OWNERSHIP, MANAGE-
MENT, CIRCULATION, ETC.. REQUIRED BY THE
ACT OF CONGRESS OF AUGUST 24, 1912, of
CLASSIC pul lislicd MONTHLY at 175 DL'FFIELD
ST., BROOKLYN, N. Y'.. for APRIL 1st. 1923. State
of NEW YORK. County of KINGS. Before me, a
NOTARY PUBLIC in and for the State and County
aforesaid, personally appeared the PRESIDENT of the
CLASSIC and that the following is. to the best of his
knowledge and belief, a true statement of the ownership,
management (and if a daily paper the circulation), etc..
of the aforesaid publication for the date shown in ihe
above caption, requited by the Act of August 24. 1912,
embodied in section 443. Postal Laws and Regulations,
printed on the reverse of this form, to wit: 1. That the
names and addresses of the publisher, editor, managing
editor, and business managers are: Publisher, BREW-
STER PUBLICATIONS, INC.. 175 DL'FFIELD ST.,
BROOKLYN, N. Y. Editor. SUSAN ELIZABETH
BRADY, 175 DL'FFIELD ST.. BROOKLYN, N. Y'.
Managing Editor. ADEI.E WIHTELY FLETCHER,
175 HI FFIEI.D ST.. BROOKLYN. N. Y. Business
Manager. GUY' L. HARRINGTON, 175 DUFFIELD ST..
BROOKLYN, N. Y. 2. That the owners are: (Give
names and addresses of individual owners, or. if a cor-
poration, give its name and the names and addresses of
stockholders owning or holding 1 tier cent or more of
the total amount of stock) EUGENE V. BREWSTER.
175 DUFFIELD ST.. BROOKLYN, N. Y. CARLE-
TON E. BREWSTER. BAYSHORE, LONG ISLAND.
N. Y. 3. That the known bondholders, mortgagees, and
other security holders owning or holding 1 per cent or
more of total amount of bonds, mortgages, or other
securities are: (If there arc none, so state.) NONE.
4. That the two paragraphs next above, giving the names
of the owners, stockholders, and security holders, if
any, contain not only the list of stockholders and se-
curity holders as they appear upon the books of the
company but also, in cases where the stockholder or
security bolder appears upon the books of the company
as trustee or in any other fiduciary relation, the name
of the person or corporation for whom such trustee is
acting, is given; also that the said two paragraphs
contain statements embracing affiant's full knowledge
and belief as to the circumstances and conditions under
which stockholders and securiey holders who do not
appear upon the books of the company as trustees, hold
stock and securities in a capacity other than that of a
bona fide owner; and this affiant has no reason to
believe that any other person, association, or corpora-
tion has any interest direct or indirect in the said stock,
bonds, or other securities than as so stated by him. 5,
That the average number of copies of each issue of this
publication sold or distributed thru the mails or other-
wise, to paid subscribers during the six months preced-
ing the date shown above is . . . (This information is
required from daily publications only.) EL'GENE V.
BREWSTER, (Signature of editor, publisher, business
manager or owner.) Sworn to and subscribed before me
this 2nd day of OCTOBER. 1922. E. M. HEINE-
MANN. (My commission expires MARCH 30th). 1924.
(Eighty-two)
She Found A Pleasant Way To
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llu- Return
mtinued from page
influence, an invaluable mean ■ "i edu-
cation. In the litiK- t. ii awa) t<
ii is the one thing tin- people have.
They keep abreast of the new s. 'I hey
relieve the terrible monotony ol a
small town ami no "tic knows what
that is until they have lived in <>i
lis -din- to tin- movies. It brings
romance to lives absolutely lacking in
that. It affords entertainment to a
people who would never get it any
other way. It teaches them history.
It Familiarizes them with tin- classics
they would otherwise never have even
heard <>i .
"Now 1 know what T am talking
about," said Mr. Bushman with con-
viction. "We went thru all these
little towns on our vaudeville tours.
We came in contact with all these
people. They all knew us — from pic-
tures. It was beautiful to me.
"Why, these housewives that were
never out of their own kitchens learn
to ^rt their tables from the movies.
They acquire a very workahle set of
manners. They learn how to dress.
You know these things are ordered
better now than they used to he. It
is safe now for people to copy the
things they see in the movies, man-
ners, clothe>. customs, houses, decora-
tions, and so on. I can only repeat
that I think that the motion picture
is the greatest force in the world.
I believe it has a message to bring
to all peoples. And I am glad and
proud to be a part of it."
Xow we know that most of these
things have been said before, but we
have never heard them said with such
a ring of conviction, sincerity and
truth. Somehow, when Francis X.
Bushman told us these things, they
took on a new vitality. We believed
them. We suddenly became enthusi-
astic about our job. We wanted to
make our magazine bigger and better.
Yes, we truly did. And we too. were
glad and proud to be a part of this
great industry.
Surely if a man can do that, can
manage to lift a job out of the hum-
drum, to make of his own life a
consecration to an ideal, to imbue
others with a new purpose, then
surely there will he a place for him
once more in the hearts of an adoring
following.
The romantic youth has become the
worth while man . . . but he still has
that thick mop of leonine hair, that
wont ever stay slicked down . . .
the buoyant step of youth . . . the
eager look of an adventurer in life
that years can never take away.
The return promises to be interest-
ing.
Earle E. Llcderman
at he Is to-day
Useless as a
Rabbit's Tail
The best thing a rabbit can do with liis
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use as some in. n maki There
are so many Rat-chested,
nuns walking thi thai a
real live man is a c <:
man of today lias aboni as much ambition
li he i
> arils, be puffs like a strain I
and (eels as though ' to die.
And. take it from me, lie isn't far from it.
("tit it out fellows. Don't In- a Caki
If you ever knew the joys of a real healthy
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I'
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Name
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The Celluloid Critic
(Continued from page 47)
RUPERT HUGHES lias taken
his magazine story, "Souls for
"Sale" (Goldwyn), and given it a
screen dressing and we must hand this
gifted author and director credit for
fashioning a picture which takes the
spectator on a fanciful flight thru
filmland. Mr. Hughes has assembled
over thirty players, many of whom
are headliners, and piloted them
around Hollywood sets. He gives us a
large close-up of studio activities — of
the lives of the screen gentry on loca-
tion. And while he shoots his scenes
he waxes satirical in his titles. Yet
beneath the humorous surface is the
story of the rise to stardom of a girl
who stumbled upon a company mak-
ing a "sheik" picture. She had run
away from a criminal husband.
Mr. Hughes would have us believe
that his tale is typical of the manner
in which a star is made. But the
atmosphere is the most important fea-
ture of the play and one is allowed
to get an eye-ful of the directors,
Stroheim, Niblo, Neilan and Chaplin.
Chaplin? Indeed, the King of
Comedy is caught for a brief moment
with the megaphone. The climax
ushers in a thrilling chapter culled
from the circus formula.
The story becomes artificial toward
its conclusion and the cast is too large
to allow any individual player's study
to be absorbed by the spectator. Yet
"Souls for Sale" is interesting be-
cause of its novelty and the humorous
twists — to say nothing of the atmos-
pheric touches.
WE turn to Pola Negri who
looks almost like a new dis-
covery in Paramount's "Bella
Donna." Having the advantage of
American methods of screen techni-
calities, she is able to display a charm
which was lost in German produc-
tions. So miich for Yankee lighting
and photography. The picture em-
bellishes her emotional gifts so that
she appears to be a different person-
ality entirely. Yet it may be that her
art is so limitless in expression that
each new picture brings out some
heretofore hidden appeal.
It is a sumptuous production — a
positive revelation from a scenic
standpoint. George Eitzmaurice has
achieved the well-nigh impossible
task of creating a genuinely atmos-
pheric Egypt, London and Venice —
so much so, that nothing of the studio
is stamped upon it. It's a passionate
tale of an oversexed woman who is
carried away in the arms of Intrigue,
Caprice, Adventure and Tragedy.
The magnetic Pola is superb
(Continued on page 86)
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KATHARINE LAMBERT,
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BEAUTY, 175 Duffield Street, Brooklyn, N. Y.
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Name'
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(Eighty-four)
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(Eighty-five)
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The Celluloid Critic
(Continued from page 84)
against such a colorful background — *
a background which abounds in
elaborate carnival scenes, desert sand-
storms and massive reproductions uf
oriental architecture. A gripping
document which is dramatically effec-
tive and optically pleasing and finely
interpreted by the star and a company
that has seemingly caught some of her
verve and vitality.
RUPERT HUGHES is not the
only sponsor of screen novelties
' for the month. He must make
room for Maurice Tourneur whose
production, "The Isle of Lost Ships"
(First National), stimulates the im-
agination and excites the pulse with
its fanciful story of adventure, con-
flict and romance in the Sargasso Sea
— where all floating wreckage drifts
to find sanctuary. The corpses of
these dead vessels lend an uncanny
atmosphere which is rich in its color-
ful appeal. Human derelicts find
refuge among them — the sole sur-
vivors of ill-fated cruises.
It is stark melodrama punctuated
with fanciful adventure and romance
and the acting contributed by Milton
Sills, Walter Long and other com-
petent players is in perfect harmony
with the vigorous tale.
IN turning to Jackie Coogan we dis-
cover him in a trite, hackneyed
story "Daddy" (First National),
which is worthy of patronage, how-
ever, because of the presence of the
inimitable youngster. Follow little
John thru his tender moments with an
aged musician and shed a tear over
him. There is no backbone to the plot
and it's unduly artificial featuring as
it does a mother who leaves her tem-
peramental husband and takes her
child with her. Follow Jackie thru his
efforts to get his grandparents out of
the poorhouse as he parades the city
streets begging silver with his elo-
quent eyes and his violin playing. The
elderly musician, the tutor of the lad's
father, dies. Which offers a moment
of heart interest and pathos. And the
parent conveniently meets the boy.
Result, happy days for all concerned
except the mother who for some rea-
son or other has passed into the Great
Beyond.
With Jackie in nearly every scene
the opus is saved from traveling the
quick road to oblivion. We will for-
get it easily when the circus story,
"Toby Tyler," comes along.
STORIES of moonshine, feudists
and revenuers among "them thar
hills" have become so conven-
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I
some Pine' i Paramount > does not
i much entertainment
l 'ox's tale has been used as a model
for this type <>i" pictures. So it musl
be called the grand-daddy of them all.
Most everyone is familiar with the
story u liicli it' it hasn't been read, at
lca-.i has been seen a score of til
Mary Miles Minter is the little
mountain wildflower wlio develops a
romance with the young "furriner."
And before the youth from the city
is able to takeheraway from her cabin
we are given a deal of local color, a
fair-tO-middlin' climax when
feudists tote their guns into the town
and some highly picturesque settings.
Ernesl Torrence suggests the typical
mountain moonshiner. He compels
attention with every expression which
flits across his face— a graphic study
of a son of the soil down "thar" in o'F
Kaintuck."
Tl I E odds are ten to one that, if
"Enemies of Women" (Cosmo-
politan) had been produced on a
modest scale, it would have been dis-
missed as stereotyped, dull stuff. But
the sponsors have loosened the purse
strings lavishly — so much so that the
picture becomes one of those million
dollar productions. And by giving it
truly sumptuous settings and an au-
thenticity of background as it per-
tains to Monte Carlo the artistic side
of the picture saves it — tbo much of
its value is found in the more than
excellent interpretation by Lionel
Barrymore as a wealthy degenerate
and Alma Rubens as an adventuress.
The war comes sparing none but a
group of wilful men who scoff at
women. Yet these wealthy bounders
catch the spirit of sacrifice and dis-
cover their souls. The story has gaps.
You will find them when the adven-
turess pleads for money from the rich
Russian to send to her boy at the
front, and when she refuses to tell
him that she has a son at all — altho
ber pride is so monumental that she
would cry ber relationship from the
housetops.
There is a thrilling scene when the
terrorists storm the prince's castle —
and the war strips are the real stuff.
The director deserves a compliment
for trimming his battle scenes and
handling the exceptionally large cast
in masterly fashion. It is colorful.
Make no mistake about it.
But its highlights are its rich back-
grounds and Barrymore's portrayal.
WILLIAM de MILLE gets
down to human values much
better than brother Cecil. He
is not afraid to tackle a character
study. "Grumpy" (Paramount), and
mould it into an absorbing little pic-
( Continued on page 8°)
r
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VOU CAN be beautiful, attractive, charming?
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Room 36. Lucille Younc Bide, Chicago.
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"MAKING BEAUTY Yd.
Name
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(Eighty-seven)
Susie had the Courage of a Pioneer
That is why she dared to leave the harbor of her home in a little Western
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And then New York put her courage to the test.
Hired to Live the Life of Another
But Susie did not flinch.
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And putting the disillusion and disappointment which had come to her
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Susie Cast off Her own Identity Like an Old Dress
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VyiTHOUT a doubt
Susie Takes a
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SUSIE
TAKES
A
CHANCE
MYSTERY . . . sus-
pense . . . surprise
. . . strange situations . . .
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. . . characters so real and
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A New Kind of Story by Lucian Cary
In the July Motion Picture Magazine
(Eighty-eight)
THEBATHER
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The I .ellulold < Critic
( c ontimicd from page £
ture storj , I i ue he has I heodore
Roberta who ii the iras< 1 1 » 1 «.- old
lawyer, gives a powerful ch
zation one which easily outrank*
anything he has heretofore con
tributed. Some might nol favor iliis
a< tor in the role since it was originally
created by Cyril Maude. Bui should
they reason from the standpoint thai
because Roberts doesn't ln<>k like
Maude he is incapable of i^i\ ing a coi
rect rendition? This is a foolish
argument with nothing to stand
upon except the original creation
which paints a pleasant fancy which
one doesn'l likr to spoil.
Theodore Roberts in "Grumpy" and
enjoy character acting at its best.
THE TIGER'S CLAW" i Para-
mount i presents us with the old
moth-eaten story of the disap-
pointed lover who exiles himself to
India where he falls in love with a
half-caste girl — and wonder of won-
ders, he marries her! Bang j
the racial hairier, you say? But wait !
The white girl comes down from
England and so they conveniently kill
off the native. < >h yes it contains
some thrills. The young engineer is
rescued by the half-caste from some
man-eating tigers and out of gratitude
for saving his life he is tied in the
hands of holy wedlock. But the
arrival of the English charmer com-
pels the author to paint the pretty
Hindu as faithless to her marriage
vows. Some of the atmosphere is
»ood and Aileen Pringle is fetching
as the half-caste. Jack Holt tries to
be real.
HAVE you been watching Buster
Keaton the past year? Wont
you agree with us that his
comedies are vastly more entertaining
than half the features which come
under your notice ': I 'ay particular at-
tention to "The Love Nest" < First
National) and enjoy a rollicking
laugh in following Buster's take-off
of a whaling adventure. He has in-
jected several new gags and inciden-
tally, employs the dream situation.
But it isn't so irritating in this in-
stance because there is no indication
that he has been asleep until the
finish. It's a whale of a comedy.
SOME marvelous backgrounds of
Tahiti do much toward compen-
sating for a highly theatrical
story of the South Sea formula
in the Goldwyn expression, "Lost and
Found." Really it is wild melodrama
which is so palpably false that the
good work by House Peters who. as
a skipper, searching the high seas for
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bis wife and child, is nearly negative.
Perhaps die original tale, "Captain
Blackbird," possessed some virtues.
But they haven't been transferred to
the screen version. There is much
ado over tribal rites and customs and
these bits are saturated with hokum.
Pauline Starke and Antonio Moreno
and George Siegmann struggle brave-
ly to appear convincing. Miss Starke,
incidentally, is miscast.
IT'S difficult to imagine just what
Mack Sennett was thinking of
when he wrote "Suzanna" (Allied
Producers and Distributors) a tale of
ancient vintage which carries none of
his customary satire or burlesque.
He turns to the babies-shifted-in-
their-cradles-at-birth formula and
writes it around a Spanish setting
and places Mabel Normand in the
role of a lowly peon. And Mabel
doesn't show any of her flair for
comedy. We must say that audiences
will probably be amused with her —
at least for old time's sake. You know
the story now. The old servant comes
forward with a confession which
gives the girl a chance to receive for-
giveness from the noble don. The
latter's rebellious son steals her away
from a tempestuous toreador. The
pursuit is on and a fight on the edge
of the cliff (horses are used) brings
the fiesta and the happy ending.
We look for much brighter things
from the Sennett lot. George Nichols,
you are wasted here.
A GARDEN
By Margaret Mayfield
I've a garden
In my heart
Where flowers grow
Pale blooms blossomed there
Until your kisses
Made red roses live.
Their perfume you and I
Alone may breathe
If your love dies
There will be
Only withered flowers there
Despair in my heart
Death in the garden !
THREE TIMES TEN
Gamaliel Bradford
For all her fragile ways and white
Demeanor like a lily.
She took a singular delight
In making men look silly.
She had a face would fit a nun
Devoted to the Savior ;
But she was hardly such a one,
To judge from her behavior.
She played the deuce with scores of men ;
But only to discover
That she was left at three times ten
With not a single lover.
V
"I AM GLAD ' *'
TO RECOMMEND \^.
YOUR WORK TO
WOMEN WHO NEED MONEY"
If you are a woman and need more
money, then you will be interested
in what we have to offer you.
Mrs. Fannie Jones, the lady whose
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YOU CAN MAKE GOOD TOO
No matter what your position in life
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I am interested in having- more money.
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Name.
St. and No.
City : State.
(Ninety)
Manufacturers, Distributors
and Studios of
Motion Pictures
Outside New York City
• i' hi Film Co., 6227 Broadway,
Chicago, 111.
State Film Cn , 1 [ollj wood, *
Bennett, Chesl 3800 Mission Rd.,
Los Angeles, Calif.
>tudios, Inc., 184S Alessandro St.,
I os Angeh -. i lalif.
irj Comedies, 6100 Sunset Blvd.,
Hollywood, Calif.
Ii - Chaplin Studios, 1420 I a
\\r . Los Vngeli s, ( lalif.
Christie Film Corp., 6101 Sunset Blvd.,
Hollywood, Calif.
Commonwealth Pictures Corp., 220 So,
State St., Chicago, 111.
in, Jackie, Prod., 5341 Melrose Ave.,
Los \ngeles, Calif.
Dwan, Mian, Prod., 66-12 Santa Monica
Blvd.. Hollywood, Calif.
Famous Players Laskj Stndi>>>, 1520 Vine
St., Hollywood, Calif.
Ford, Francis, Prod., 6642 Santa Monica
Blvd., Hollywood, Calif.
Fox Studios. 1401 Western Ave. Holly-
wood, Calif.
Goldwyn Studios, Culver City, Calif.
Hart. William S.. Studios. 5544*4 Holly-
wood Blvd., Hollywood, Calif.
Ijicc Studios, Culver City, Calif.
Leah Baird Prod.. Culver City, Calif.
Lloyd, Harold, Prod., Hal Roach Studios,
Culver City, Calif.
MacDonald, Katherine, Prod., 945 Girard
St.. Los Angeles, Calif.
Mayer, Louis B., Studios, 3800 Mission
Rd., Los Angeles, Calif.
Metro Studios, 1025 Lillian Way, Los An-
geles, Calif.
Morosco. Oliver, Prod., 756 So. Broadway,
Los Angeles, Calif.
Pacific Studios, San Mateo, Calif.
Pathe Freres, 1 Congress St., Jersey City,
X. 1.
Ray, Charles. Studios, 1425 Fleming St.,
Los Angeles, Calif.
Roach, Hal E., Studios, Culver City, Calif.
Rohertson-Cole Studios, 780 Gower St.,
Los Angeles, Calif.
Roland, Ruth, Prod., Culver City, Calif.
Sennett, Mack. Studios, 1712 Glendale
Blvd., Los Angeles, Calif.
Stahl, John M.. Prod.. 3800 Mission Rd.,
Los Angeles, Calif.
Stewart, Anita, Prod., 3800 Mission Rd.,
Los Angeles, Calif.
Talmadgc Prod., 5341 Melrose Ave., Los
Angeles, Calif.
Tourneur, Maurice. Prod., Ince Studios,
Culver City, Calif.
United Studios. Inc. T.n< Angeles, Calif.
Universal Studios, Universal City, Calif.
Vidor, King, Studio. 7200 Santa Monica
Blvd.. Los Angeles. Calif.
Vitagraph Studios, 1708 Talmadge St.,
Hollywood, Calif.
Warner Bros.. Bronson Ave. and Sunset
Blvd.. Hollvwood. Calif.
Weber. Lois, Prod., 6411 Hollywood Blvd.,
Hollywood. Calif.
Wharton, Inc., Ithaca, New York.
A telephone personality
In your face to face contacts
with people, your appearance, your
bearing and many other things help
you to make the right impression.
But in your telephone contacts
there is only one thing by which
you can be judged — your speech.
An effective telephone person-
ality is to-day a business and social
asset. Everybody appreciates the
person who speaks distinctly and
pleasantly, neither too fast nor too
slow, with a clear enunciation of
each word, with lips facing the
mouthpiece and speaking into it.
In business, this is the telephone
personality which induces favorable
action on the part of the listener.
To the salesman it may mean the
difference between an order and
no order; between an interview
granted and an interview refused.
Curiously enough, people who
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face to face, often disregard the
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phone speech. Perhaps they shout,
perhaps they mumble, perhaps they
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defeated the purpose of their talk.
The Bell System maintains for
telephone users the best facilities
that science, modern equipment,
skilled operation and careful man-
agement can bring to telephone
speech. But these facilities can be
fully effective only when they are
properly used.
" Bell System "
American'Telephone and Telegraph Company
And Associated Companies
One Policy, One System, Universal Service, and all directed
toward Better Service
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pson Charles Ray
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6 MAIDEN LANE- NEW YORK
(Ninety-one)
WRITE FOR THE MOVIES
TURN YOUR TALENT INTO MONEY
A valuable money making- field
Try it! Mail us an idea, in any form, at once for J
fret examination and criticism. We give our hon-
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Cosmopolitan Photoplay Studio
1S4 Nassau St., New York
Suite 624, Dept. G.
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21-23 Maiden Lane NewYorlv
Current Stage Plays
(Continued from page 6)
Palace. — Keith vaudeville. The home of
America's best variety bills and the fore-
most music hall in the world. Always an
attractive vaudeville bill.
Playhouse. — "Up She Goes" is a musical
version of Frank Craven's "Too Many
Cooks." The company is headed by
Donald Brian and Gloria Fay. Fair en-
tertainment.
Plymouth. — "The Old Soak," by Don
Marquis. The hit of the season so far.
Another "Lightnin'." Beresford in the
title role is particularly engaging.
Princess. — "Papa Joe." Mr. Malatesta
in an amusing character study of Italian
life.
Republic. — ■ "Abie's Irish Rose." An
amusing study in temperaments and the
reconciliation of the irreconcilable — that is,
the Irish and the Jews join hands.
/vV/.rr. — "The Enchanted Cottage." A
charming dream-type of drama by Sir
Arthur Wing Pinero. It is an adventure
into the realm of phantasy that succeeds
in enchanting every one who sees it.
Shuhcrt. — "Peer Gynt." Joseph Schild-
kraut is not yet mature enough to play
this, he makes Peer a spoiled boy.
Thirty-ninth Street. — Louise Huff in
Rachel Crothers's new play, "Mary The
Third." Miss Crothers reverses the old
theme whose slogan is, "For the Children's
Sake."
Times Square. — "The Fool." Unreal,
impossible and moral too evident, but extra
matinees have to be given to take care of
the crowds — so there must be something.
Vandcrbilt. — "Elsie." Another • musical
comedy, with the advantage of having its
musical score written by Sissle and Blake
and Carlo and Sanders.
ON TOUR
"Anna Christie." Eugene O'Neill at his
best. Worth seeing.
"A Bill of Divorcement." A serious
and well-acted drama.
"Bombo." Good music and new jokes.
"Bulldog Drummond." A mystery play
everyone will like.
"Dulcy." Demonstrating that beauty
triumphs over brains.
"Good Morning, Dearie." Excellent
musical entertainment.
"Lawful Larceny." A crook melodrama.
Fair.
"Make It Snappy." Eddie Cantor is
the whole show.
"Nice People." A comedy of manners.
"Partners Again." A Potash and Perl-
mutter comedy.
"Red Pepper." A typical Mclntyre and
Heath entertainment.
"Sally." One of the best musical shows
ever written.
"Shore Leave." Frances Starr weeps
less than usual.
"Six Cylinder Love." A domestic
comedy with a moral.
"The Circle." An excellent comedy
with an all-star cast.
"The Gold Diggers." A snappy, color-
ful comedy.
"The Hairy Ape." The tragedy of a
stoker. Excellent.
"The Merry Widow." A musical
comedy revival that is making good.
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BECOME A LANDSCAPE ARCHITECT! Big
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NEWS CORRESPONDENCE
EARN $'ir> WEEKLY, spare time, writing for
newspapers, magazines. Experience unnecessary;
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OLD MONEY WANTED
$2 TO S500 EACH paid for old Coins. Keep all
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PATENTS
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PHOTOPLAYS
Photoplays wanted for California producers;
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VAUDEVILLE
GET ON THE STAGE. I tell you how.l Per-
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THE VIOLET SPEAKS
Bj Doris Kenvon
Sister, it is time to wake;
On the hillside runnels break
Their long ice-bound sleep, to find,
At the kiss of Mm and wind,
Once again the laughter lo>t
Mid December's blight and frost.
thy dreaming, sister dear;
April's tear-washed skies are near,
And already, all day long,
Blue-birds lift a venturous song.
Waken, it is time to
Where the crocus, thru the snow.
Pushes its brave head of gold
Upward thru the sleet and cold.
Warmer airs shall breathe again,
Mists of green with fragrant rain
Drift ;ilnng the slumbering hills,
Where the morn its incense spills.
Waken, sister, wake and see
How the young year's prophecy
Of fresh fields and leafy dells,
Tendriled vines and attared bells,
Even now begins to bear
Sweet fulfilment everywhere.
THE CONCERT
By BuKt.ii ii ii I i nubf.ro Lee
I will not heed this tin
Low and vibrant,
iantly sweet —
I shall whisper
A platitude
To mj companion —
I shall not listen.
W'hu is he,
Tins player with souls,
That he should have the power
To make my heart cry
As if in pain?
I shall laugh aloud —
Strike a discordant note,
In all this sweetness —
I will not bare my soul
For everyone to see.
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If You vvish to Be ^Well Informed
You Will Read
SUADOWLAND
T T contains articles on the stage, music, art and books; reproductions
■*- in colors of pictures by foremost artists ; humorous cartoons and
delightful verse, in every issue. A few of the things appearing in
Shadowland for June are:
'M.eister Liszt, the Man
Reminiscences of the great pianist and composer, Franz Liszt, by
one of his pupils.
Our Standard Bearers
Thyra Samter Winslow, the author of Picture Frames, discusses
the change in standard from our great-grandmother's day to the
present time.
On the \v atermelon-seed Circuit
An amusing account of the motion-picture invasion into China and
the enthusiasm with which it is received.
a he American Short Story
The peculiarities of certain well-known purveyors of short fiction are
gently satirized by R. le Clerc Phillips, English writer and critic.
June
SUADOWLAND
June
utneo
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T'S time to prepare for the
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REJUVENATION
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Send this 'ad' and your name and address at once!
Informal SNAPSHOTS of MOVIE STARS
iriMiiud ('ic irudiui »ilh a kodA They will til in « .rh your own snapihois >m
ou lev than you would pay to have your own films developed and printed Sent
inly 25 COWS foi ANY lil of (he following [or 50 cent* for ail i
Wanoa Hawut ChaiueChafiui Rnooirii Valentino
Jackie Cuqcan M«c muuai ur-ici D*m
Anita Stfwa»j Wallace Rxid AdNBi Aveu
Hawilo l.u-ivo Bill Hart L-imu HucuE*
Charlie Ray Claea Kimball Young TOM Mia
eiCC&LANPHER CO. 101 booth UJJ SUtcl. U* Aattk* CaliL
Advertising is the
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To all that is healthy and vital in
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which is unsound.
A business which is not a good business
should not be advertised. A business which
would not benefit from widespread appre-
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A PERFECT NOSE FOR YOU
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Whose Fault Is This—
Star, Director, or Both?
HI, ho! What do you mean Mr.
Star, using a pick and shovel,
as an oil scout ? In view of the
fact that oil is found at depths of
from three to five thousand feet, a
derrick is used to drill, and it some-
times takes a year before pay sand is
hit. This picture was shown in Tulsa,
Oklahoma, and surrounding towns.
The laugh is on you.
^sop, the wise old owl of Greece,
once said, "Know thyself." Had he
lived in this movie age, he might have
changed it to, "Know thy subject, be-
fore portraying it."
Who ever saw a fireman coming in
from a long trip, without a speck of
smudge on his face, and lily-white
hands nicely manicured? If Maurice
Barrymore were alive today, would
he or any of the old school, do these
things? Even among our best of this
decade, Guy Bates Post, or Tyrone
Power, the smallest detail would be
correct, because they are not of the
mushroom variety. I saw, with my
own face and eyes, a typewriter which
lias not been used in large offices since
about 1900, fa blind machine) used
in a late picture. What office girl or
boy, would not notice this error?
I repeat, what d'you mean? If you
are getting five thousand dollars a
week, six square meals a day, eight
days a week, why not take a vacation,
and find out how things are done in
real life — not reel life? Barnum once
said the public loves to be fooled.
Yes, perhaps, but dont get caught at
it. For the blue-eyed boy, at a million
a year, is putting a screen nail in his
coffin, every time these mistakes are
made.
Listen to this, O ye Australian
Crawlers ! A swimmer was swimming
the breast stroke, and 1"* caught a
man swimming the Australian crawl.
This simply ain't done.
In a court-room scene, the defend-
ant is locked in a cage, on the other
side of room from the attorney, who
was obliged to cross, every time he
conversed with his client, and a mur-
der trial at that. If the writer does
not understand his subject, the long
envelope is returned with a "not
suited to our magazine" inclosed slip,
a most depressing sight ; but when a
celebrity makes a picture of a peniten-
tiary scene, without ever having been
even in a real honest to goodness jail.
the dear public pays out their hard-
earned shekels, to be humbugged. Is
this fair?
I ask you, is it?
Gene.
(Ninety-four)
I he Remedy Foi ( Censorship
mtinued from page 11)
were i Jeneral Charles II * '>!<■.
fudge Edward B. ( )'Brien, the I [on-
orable William 1 1. Carter and Mrs.
Alfred I I eatherbee. Business men,
bankers, professional men and worn
en, labor leaders, ex sen ice nun,
club women, teachers and clergymen
all united to help. These united t<>
make it clear to the voters, men and
women both, that :
i ! ) "Censorship means thai one man can
determine what everyone in Massachusetts
can see. What man i-> big enough and
wise enough to have tlh^ power? Are we
mi weak and pictures so bad that cur right
oi selection shall be taken from u^?
i nsorship mean- fewer pictures,
advanced prices and uninteresting amuse-
ment.
(3) "Present laws fully protect the situ-
ation and prevent the showing of anything
that is obscene, indecent, immoral or harm-
ful.
(4) "Back of it all is the age-old desire
of a self-selected few to run a community
and compel all people to do their will. It
is not the common good that the reformer
i- concerned about. It is his selfish desire
to compel everyone to adopt his peculiar
standard- and ideals. The censor who
Ueves that adventure, dancing, cards and
the showing of modern life is wrong, will
classify them as immoral and forbid their
showing on the screen. If the D
narrow and bigoted we will be allowed to
see nothing, and if he be broad and care-
less we maj see things which present laws
make impossible.
(5) "If we deliver up our right of selec-
tion we will soon be ruled entirely by
■ us and deprived of that liberty which
h is made our country possible. There may
occasionally be pictures which are open to
just criticism and which could easily be
stopped by anyone interested enough to
bring complaint to the local authorities.
There is no reason or argument for over-
turning the right of individual selection
by the establishment of censorship."
What was the result of this en-
lightened appeal to the puhlic intel-
ligence: It was amazing. According
to the Boston Transcript, a very con-
servative hut a very great newspaper :
"In Massachusetts, for the first time in
the United States, a proposal to establish
a State Censorship of Motion Pictures
came to popular vote and was rejected by
a threefold majority. Such a defeat of
one more effort to regulate the pleasures
of a contented many according to the idea
of an insistent few speaks for itself.
The remedy for censorship is now
entirely clear. Organize to tight.
Form a club against censorship in
your own home town. Go to your
local theater owner and ask his help.
particularly if you need a meeting
place. Boost good pictures. Stay
away from the poor ones. Co-operate
with your state organization. If you
haven't one, create one as they did in
Indiana. There a voluntary state or-
ganization, in return for the co-opera-
tion of theater owners, recommends
good pictures.
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STERLING w'^c0HN?ct
Wholesale Jewelers Established 1879
63 Park Row. Dept. 919. NEW YORK
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Beau Brummell
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F)R a soft, gleaming polish that
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Send a dime today for a generous
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dhnpit p^AAptiatuxh
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{Continued from page 48)
tence may sound a bit profounel at
first, but not to anyone who lias seen
"The Glimpses of the Moon."
Woof !
4* 4* 4*
The so-called tribute to Sarah
Bernhardt ended with the highly ap-
propriate "sic transit gloria niundi."
"Do you .know what that means?''
asked the movie-audience mother of
her movie-audience child: "No," an-
swered the little one, "what does it
mean?" "I dunno," said the parent,
mildly indignant, "it's French. It
probably means 'orrewar' or 'good-
bye' or something."
We'd like to lay down a modest
waeer on her third choice.
There is something particularly
laudable in the basic sentiment of
"Adam's Rib." By reason of his
Old World glamor, romance and
gallantry (undisputed) a handsome,
exiled, still youthful monarch wins
the favor of the wife of a hard, two-
fisted, steely - eyed, cigar - smoking,
equally young he-business man. And
while Love is carefully toeing the
window-sill for a good take-off what
doth the busy business man ? Gad
sir, without once removing the cigar
from his mouth, he buys the king's
toy kingdom back for him and sends
him packing. Magnificent, isn't it?
A true monument to the Successful
Americans of Today. Youthful
Wheat Wizard Retains JJ'ife's Af-
fections For Regal Ransom.
And let me tell you these, Mister
Man. If Mahomet and Joshua and
old King Canute had had a little red-
blooded, modern American pep and
go, you wouldn't have seen them
take back talk from any Law in the
Universe. No sir !' That mountain
and sun and ocean would have cut
out their nonsense and snapped into
it!
■£■ •£* >%>
Well, as Jackie Coogan said to
Charles Dickens as they were filming
"Oliver Twist," "God help us, one
and all !"
MARY
By Edgar Daniel Kramer
When Mary was a little lass,
She wandered off to school,
And with her went her little lamb-
Which was against the rule.
Now Mary is a lady grown.
And all the lads are dafif,
The while they gaze in ecstasy
At Mary's dainty calf.
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No References' *
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Well Send
The Pearls
" INDESTRUCTIBLE PEARLS
Genuine French pearls, imported from Paris, are
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If satisfied, pay only SI .00 monthly for ten months.
DIAMOND CLASP FREE
Each purchaser of one of these pearl necklaces
will receive a 14Kt. solid white gold clasp, set
with a blue-white diamond as a free premium.
FREE GIFT CASE. The pearls come in a hand-
some gift case for presentation purposes.
10 DAYS FREE TRIAL
If you return the pearls, we will return your de-
posit. They are natural pearl color, guaranteed
never to break, crack, peel, or discolor and are not
harmed by water or cosmetics. Send your name
now for this pearl necklace. We'll ship at once
STERLING DIAMOND &. WATCH CO. -
Importers of Diaiimttdx and Pearls. Est. 1879
63 PARK ROW, DEPT.9I8 NEW YORK
YOUR
EYES
CAN BE
BEAUTIFUL
Miracle of the toilette, as famous beauties call it —
accentuates the eyebrows and lashes. Gives them a
lustrous, luxuriant beauty. Remember that beauty
u ,within tne eyes, that they can transform your
whole face to an appealing lovliness— therefore do not
neglect your eyes. "MAYBELLINE" darkens and
L beautifies eyebrows and lashes instant-
ly, is harmless and greaseless. Will not
spread or smear. Used by girls and
women everywhere. Each dainty box
.contains mirror and brush. Two
shades: Brown for blondes. Black
ffor brunettes. 75c AT YOUR DEAL-
ER'S or direct from us. Accept only
genuine"MAYBELLINE." You will
be_ delighted with results. Tear out
this ad now as a reminder.
MAYBELLINE CO.. 4750-5 6 Sheridan Road. Chicago. III.
Are You Reading
Magazine"
July Issue on the News-stands
June 6th
_olitaire ring 14K
- golds., guaranteed/
UUN I SEND A PENNY! Send only rii
address and paper strip which fits
:o end around finger. When ring^
comes deposit only $2.98
postman. We pay postage
ckif not delighted
, CARAT RINGS $2.98. Not one diamond
nd has the blue, dazzling bnl-
v. "Luxite Diamonds." They're
, PERFECT: few diamonds are! Stand
d and all other tests. Only experts
i tell you haven't paid $1:
engraved vi '
Beautiful full-
e BAR PIN, set
with Luxite Diamonds,
platinoid finish, free with ring.
GARFIELD IMPORTING^., '•'g&^JRrc&T-
(Ninety-six)
The Magic Carpet
"yOl' could sit on the tabled carpet of Bagdad and view
the world. In the whisk of an eyelash it would carry
you any place you wanted to go. All you had to do was wish.
Advertising is a sort of magic carpet. Read it and in the
twinkling of an eye you can review the merchandise of the
world, pictured and displayed for your benefit.
The advertisements introduce you to the latest styles — the
newest comforts for the home — the best of the world's inven-
tions. They tell you how to buy, where to buy and when
to buy. They keep you posted on things necessary to feed
and clothe you and your family and make you comfortable
and happy.
Read the advertisements as a matter of education. Read
them to keep abreast of progress.
Read the advertisements regularly.
(Ninety-seven)
Only the finely textured
fengHshClqy
I think most motion pic-
ture actresses agree on one
point at /east; that clay-
ing has come to stay and
that the best c/av by all
odds is that creamy Eng-
lish Clay, Terra-derma-
lax
Agnes Ayres
Claying is a regular part
of my toilette routine. But
I use nothing but the
genuine English Clay —
none of the ordinary mas-
sage muds for me. Terra-
derma-lax is superior to
them all
Corinne Griffith
There are clays and
clays. I have tried them
all, but have found none
to compare with the im-
ported English Clay,
Terra-derma-lax
Marie Prevost
Clay? Of course I do.
What woman doesnt
•who wishes to look her
loveliest at all times? But
experience has taught me
to use nothing but the pure
English Clay, Terra-
derma-lax I believe it is
called. I have found it
vastly superior to all
others
Enid Bennett
EDWARD LANGEB FEINTING CO.. INC.,
JAMAICA, NEW YORK CITY.
is good enough
for madame's face
'By Martha Ryerson
245 Oxford Street, London, W. I., England
Every woman who prizes a beautiful
complexion should clay at least once each
week, but she should be very, very par-
ticular in her choice of clays; she should
use nothing but the silky-textured
Terra-derma-lax, imported from England.
This English Clay has skin-vitalizing
power, a magnetic quality which is
totally lacking in the domestic massage
muds now flooding the market. Andit is
absolutely harmless to the most delicate skin.
When applied to the face with the fi nger-
tips, this English Clay dries quickly in
a firm, tingling mask. Forty minutes
later it is whisked away with a moist towel
and the miracle of skin-beauty is complete.
What happens is really this : the gentle
magnetic action of Terra-derma-lax
cleanses the skin perfectly, cleanses it
in a way that no amount of scrubbing
with soap and water or cold cream can
cleanse it, drawing out from each tiny
pore every dirt-speck, blackhead, per-
spiration-clot, and impurity that causes
faulty complexions.
Get the English Clay habit; actresses,
society women, everyone who values
youth and beauty has acquired it. Clay
with Terra-derma-lax at least once each
week, twice is not too often, and you can
have a gloriously young complexion, the
envy of all your friends.
For the daily cold cream bath — use Terra-derma
Creme, the Beauty Twin to Terra-derma-lax — the
English Cold Cream with an English Clay base. In
its velvety softness, this cold cream is unequaled by
any other product on the market. It has the quality
of imparting to the skin its own exquisite texture.
For sale by all druggists and department stores. Tcrra-
derma-lax, $/. Terra-derma Creme in porcelain jugs, $1
Terra-derma-lax
ctht'English Beauty Clay
(Ninety-eight)
WT-TC^F
llll I I I I I I
! I I 1 I I I ' I > .. I I 11 I I < I I I I t I II I I ft II i II .1 . • 1 I I I .
You need not be embarrassed!
When you go to the beach iln-> summer, are
you u;(,iii^ tn be afraid t<> raise your arm?
\ u- you going t<> shrink from the scrutinizing
glance oi your t riends?
\ \'Ui going !'• permit unsightly hair on
your face, arms, underarms .m<i limb*
spoil the freedom which awaits you at the
beach?
Stillman's Freckle Cream
Get some now !
Enter the freckle contest this summer! Prizes to 103
girls who have the greatest number of freckles to lose.
Start any time. Have your picture taken "with your freckles
on" before beginning treatments. After the freckles are all gone,
take another picture. Send both in. Contest closes October 15. To
the girl who started with the greatest number of freckles will be
given $25 and her choice of $5 worth of Stillman toilet articles.
The second prize is $15 and a $5 assortment; third prize is $10
and the same. In order the next 100 girls will be given their
choice of $5 worth of Stillman toilet articles. In case of any
tie, duplicate awards will be given to each tying participant.
Your picture will not be printed. No winner's name will be
published without her permission. This contest is not for adver-
tising— but to interest girls in seeing how gently Stillman's
Freckle Cream causes freckles to fade away, giving them a
clear, white skin. Get it at any druggist. Two sizes, 50c and $1.
Write today for "Beauty Parlor Secrets" and pick out the
toilet articles you would like. This booklet will give you valu-
able hints on make-up. With it we will send instructions on
how to take a "freckle photograph" with your Kodak.
Mail this today
The Stillman Co., 3 Rosemary Lane, Aurora, 111.
Please send me "Beauty Parlor Secrets" and in
structions on how to have a freckle photo taken.
A BREWSTER PUBLICATION
* •
' '
i tie rsesue nome uutnt tor rermanen
Waving by the New Lanoil Process
Paper Tubes, Borax, Pastes
and Lengthy Heating
All Eliminated
The girl "After" — hair
beautifully and perma-
nently waved. Ready for
rain or surf.
THESE warm summer days
your hair curling problem is
a pressing one unless you visit a pro-
fessional Nestle Lanoil Waver, or
apply the Nestle Home Outfit.
Imagine the comfort and relief of
having natural, soft, bright curls
and waves wherever you go, rain or
sunshine. Imagine waking up in the
morning, curls and waves still flow-
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them to see them become even
curlier than before.
If you are struggling with straight
hair, let Nestle's help you. With a
world-wide reputation as permanent
wavers, their two New York estab-
lishments give over 300 waves a day.
If you cannot come to Nestle's, you
can get their Home Outfit for mak-
ing your straight hair naturally
curly. The dainty apparatus illus-
trated on this page gives the straight-
est hair of child or adult a per-
From a photograph submitted to us showing the pleasant time these two
girls are having while permanently waving each other's hair in their home.
manent curl and wave that will
withstand shampooing, fog, perspi-
ration and sea water just like
naturally curly hair.
Do not take this marvelous invention on
our word. We give you free supplies, and
thirty days to test it on your own hair, and
we take all responsibility for your success.
Send a money order, check or bank draft
for $15 today. Or pay postman when Outfit
arrives. Then should you decide within 30
days' test that your curls and waves are not
as lovely, natural and permanent as you
expect, return the Outfit, and your entire $15
will be refunded immediately without deduc-
tion for postage, free trial supplies or the use
of the Outfit.
Over 60,000 Home Outfits have been sent
to over 60,000 homes since last August with
this generous guarantee. Wherever they go,
they are making women, girls and children
with straight hair happy with natural, per-
manent and soft waves, curls and ringlets.
End your straight hair troubles today, by
sending immediately for this wonderful little
invention. Remember — the Nestle Lan
Outfit will last a lifetime, and can be u:
on as many heads as you desire.
Write for our free interesting booklet
on Nestle Waving by the Lanoil Process.
It will give you further particulars.
NESTLE LANOIL CO., LTD.,Dept
Established 1905
12 and 14 East 49th St., New York C
Just Off Fifth Avenue
Fill in, tear off, and mail this coupon today
NESTLE LANOIL CO.. LTD.
Dept. M 12 and 14 East 49th St.
New York City, N. Y.
1 would like you to send me the Nestle LANOl
Home Outfit for Permanent Waving. It is distinct
understood that if, after using the Outfit and the fr
trial materials, I am not satisfied, I may return tl^i
Home Outfit any time within 30 days, and receive ba<
every cent of its cost of $15.
I enclose $15 in check, money order, or bai
draft as a deposit.
I prefer to deposit the $15 with my postmij
when the Outfit arrives.
OR. check here if only free book-
of further particulars is desired.
Same
Street
City State
□
Best Style Book
Ever Issued -PREE!
Endorsed by the Worlds Best
Dressed Woman- Charming"
IRENE CASTLE!
DAINTY, fashionable Irene Castle, stage favorite of
millions and acclaimed "the best dressed woman in
the world," i9 perfectly enchanted with
PHILIPSBORN'S Style and Shopping
Guide for Fall and Winter. She says:
' '// is the moil wonderful book of fashions I have
ever seen. Every woman who loves good clothes
and wants the most for her money should have
a copy."
Your name on the coupon or a postal
brings this beautiful Style Book free.
New Fall Apparel
For All the Family!
322 Pages-
Richly Illustrated in Colors
and Rotogravure!
When you choose your new Fall
and Winter clothc9 from the
PHILIPSBORN Style Book,
IRENE CASTLE— the foremost
fashion authority— virtually stands
at your elbow with approval and ad-
vice. Think what it means to you to
know that all fashions have the en-
dorsement of the supreme authority
on styles !
Big Cash Savings
for Every Household!
Every price is a bargain pricel No other
mail order house gives you 60 much for
the money in quality merchandise!
PHILIPSBORN'S customers save mil-
lions of dollars every year ar.d enjoy the
satisfaction of wearing the most up-to-date
and stylish clothes obtainable anywhere.
CarefuLQuick Service!
PHILIPSBORN'Snllorders with greater
speed, care and accuracy than any other
mail order house. Their new, unique
chopping service is the talk of America.
Money-Back Guarantee
Our Wedge of Satisfaction!
Lowest prices and the squarest deal in
America — diat is PHILIPSBORN'S
policy and it is lived up to in every sense. We want your good will more than
we want your money. 100 % satisfaction or no sale — the most liberal guarantee
in America.
Send Coupon ora'PostalforTree Catalog!
PHILIPSBORN'S
^ound e d 1890
Department -311- Chicago, Illinois
PHILIPSBORN'S, Dcpt. 311. Chicago
Please send FREE copy of PHILIPSBORN
and Shopping Guide fcr Fall and Winter.
S Stvle
Xame
Town
Local AUiirc»
I PLEASE WHITF PLAIN! \
(Three)
Why Mrs Blakely
-How Do You Do!
1*
W
He had met her only once before. Some one had pre-
sented him at a reception both had attended. He had
conversed with her a little, danced with her once. And
now, two weeks later, he sees her approaching with a
young lady who he surmises is her daughter.
"Why, Mrs. Blakely, how do you do!" he exclaims,
rushing forward impulsively. But Mrs. Blakely,
customed to the highest degree of courtesy at all times,
returns his greeting coldly.
And nodding briefly, she passes on — leaving the young
man angry with her, but angrier himself for blundering
at the very moment he wanted most to create a favorable
impression.
DO you know what to say to a woman when meeting
her for the first time after an introduction? Do
you know what to say to a woman when leaving
her after an introduction? Would you say "Good-
bye, I am very glad to have met you?" Or, if she said
that to you, how would you answer?
It is just such little unexpected situations like these that
take us off our guard and expose us to sudden embarrass-
ments. None of us like to do the wrong thing, the incorrect
thing. It condemns us as ill-bred. It makes us ill at ease
when we should be well poised. It makes us
self-conscious and uncomfortable when we should
be calm, self-possessed, confident of ourselves. A
The knowledge of what to do and say on all
occasions is the greatest personal
asset any man or woman can
have. It protects against the r
humiliation of conspicuous
blunders. It acts as an armor
against the rudeness of others.
It gives an ease of manner, a
certain calm dignity and self-pos-
session that people recognize and respect
Do You Ever Feel That You
Don't "Belong"?
Perhaps you have been to a party lately
or a dinner, or a
£!*-'
reception of some
kind. Were you
entirely at . ease,
sure of yourself,
confident that you
would not do or
say anything thai
others would rec-
ognize as ill-bred?
Or, were you
self-cons cious,
afraid of doing or
saying the wrong
thing, constantly
on the alert — never
wholly comfortable
for a minute?
Many people feel
"alone" in a crowd,
out of place. They
do not know how
to make strangers
like them— how to
create a good
first impression.
When they are in-
troduced they do
not know how to
start conversation
flowing smoothly
and naturally. At
the dinner table
they feel con-
strained, embar-
rassed. Somehow
they always feel
that they don't
"belong."
Special Bargain!
The Famous Book of Etiquette
Nearly Half a Million Sold at $3^2
NOW4198
ONLYTl
At this time of the year there is always a lull
in the publishing business. To keep the presses
running and the pressmen from being idle,
Nelson Doubleday, Inc., makes the amazing
offer to send you the complete authentic orig-
inal BOOK OF ETIQUETTE at almost half
the usual publisher's price !
You have always wanted to own the two re-
markable books that give poise, ease, dignity,
self-confidence. Almost 300,000 people have pur-
chased them at the regular price of $3.50. If you
act NOW you can receive the same two author-
itative and fascinating volumes for only $1.98.
SEND NO MONEY
No money is necessary. Just clip and mail
the coupon below to us at once. We will send
you the complete two-volume set and when it
arrives you have the privilege of giving the
postman only $1.9S (plus few cents postage)
for the regular $3.50 set !
Surely you are not going to let this offer slip
by. Clip and mail the coupon NOW while
you are thinking about it.
NELSON DOUBLEDAY, Inc.
Dept. 829 Garden City, N. Y.
Little Blunders
That Take Us
Off Our Guard
There are so many
problems of conduct constantly arising.
How should asparagus be eaten? How
should the finger-bowl be used, the napkin,
the fork and knife? Whose name should
be mentioned first when making an intro-
duction? How
should invitations
be worded? How
should the home be
decorated for a wed-
ding? What clothes
should be taken on
a trip to the South?
In public, at the
theatre, at the
dance, on the train
— wherever we go
and with whomever
we happen to be,
we encounter prob-
lems that make it
necessary for us to
hold ourselves well
in hand, to be pre-
pared, to know ex-
actly what to do
and say.
For a Very
Limited Time
Let the Book of
Etiquette Be Your
Social Guide
For your own
happiness, for your
own peace of mind
and your own ease,
it is important that
you know definite-
ly the accepted
rules of conduct
in all public places.
It is not expen-
sive dress that
counts most in so-
cial circles — but
correct manner,
knowledge of social
form. Nor is it par-
ticularly clever
speech that wins the
largest audiences.
If one knows the little secrets of enter-
taining conversation, if one is able to say
always the right thing at the right time,
one cannot help being a pleasing and ever-
welcome guest.
The Book of Etiquette, social secretary
to thousands of men and women, makes it
possible for every one to do, say, write and
wear always that which is absolutely cor-
rect and in good form — gives to every one
a new ease and poise of manner, a new
self-confidence and assurance. It smooths
away the little crudities — does amazing
things in the matter of self-cultivation.
Send No Money
Take advantage of the important special-
edition, low-price offer made elsewhere on
this page. Send today for your set of the
famous Book of Etiquette. These two
valuable volumes will protect you from em-
barrassments, give you new ease and poise
of manner, tell you exactly what to do, say,
write and wear on every occasion.
No money is necessary. Just clip and
mail the coupon. The complete two-vol-
ume set of the Book of Etiquette will be
sent to you at once. Give the postman
only $1.98 (plus few cents postage) on ar-
rival— instead of $3.50 which is the regular
publishing price. If you are not delighted
with these books you may return them at
any time within 5 days and your money
will be refunded at once, without question.
This coupon is worth money to you. It
will bring you the famous Book of Eti-
quette at almost half the regular price.
Use it — today ! Nelson Doubleday, Inc.,
Dept. 829, Garden City, New York.
Nelson Doubleday, Inc., Dept. 829.
Garden City, New York
T am glad to know of the special low-price
edition of the Book of Etiquette. You may send
me these two volumes without any money in
advance. When they arrive T will give the post-
man only $1.98 (plus a few cents postage) in
full payment — instead of the regular price of $3.50.
I am to have the privilege of returning the Book
of Etiquette any time within 5 days if I am not
delighted with it.
Name .
Address
T 1 Check here if you wanl these books with the beau-
tiful full leather binding, al J2.98, with same return
privilege.
(All Orders from Outside the U. S. are Tayable
Cash with Order.)
(Four)
I
COVER PORTRAIT— NORMA TALMADGE
Painted bv E. Dahl
. ( \ara
Good and Bad Authorship
Our Portrait Gallery: Pauline Starke, Corinne Griffith, Sigrid Holm-
quist, M.u\ Beth Milir.nl, Ramon Navarro, Bessie Love
The Sport of Kings — And Movie Stars ( harles I I
Moonlight and Sweet Summer Madness, A picture
How the Motion Picture Has Influenced Young Peru Helen . If>f>lrt<m Read
Alice Joyce, A new and exclusive portrait
Foreign Films, European studios at a glance Maurice /
Bombed Into the Movies, Little Philippe de Lacey was Hurry Carr
The Woman and the Mask, A portrait study of Priscilla Dean
Trilby, \ short story made from the photoplay by Dorothy Donne 1 1
Impressions, More of Louise Fazenda's subtle vignettes
"The Light Bright Lissom Mae," Mae Murray, of course
The Genius of Gesture, An inten iew Faith Service
Hollywood Homes, M rs. Wallace Reid
Another Mary, Is shadowed in "Rosita"
The Girl Who Couldn't Stop Crying, Is Renee Adoree Hurry Carr
Beside the Sea, Come on in, the water's fine
The Celluloid Critic, Selects "The Spoilers" as the best photoplay of the month Laurence Reid
The Veil of Happiness, Clemenceau'-s picture
The Photographer Takes the Stage, The hardy perennials of the season
Flashes From the Eastern Stars, Of the stage, on the screen Caught by the Editor
Classic Considers — The great and the near great
Greed, von Stroheim's first picture for Goldwyn novelized from "McTeague" Patricia Doyle
Iris In, Pertinent and impertinent screen comment H. " ■ Hanemann
A Renaissance Romance, Monna Vanna is screened
The Hollywood Boulevardier Chats Harry (. arr
The Studio, 1 (rawing of one of the l>iu "Spots" ■.■•••
Rankest Treason, Verse and pictures Dorothy Rosencrans Brighton
Two Down and One to Go, A two-fisted picture
The Movie Encyclopedia By The Answer Man
II
12
18
20
21
24
26
27
28
33
34
35
38
39
40
43
46
47
SO
52
53
57
58
60
63
64
70
Subscription $2.50 per year, in advance, including postage, in the United States, Cuba, Mexico and Phihppu*
(3.00; Foreign Countries $3.50 per year. Single copies 25 cents postage prepaid. United States Government stamp- accepted.
Subscribers must notify us at once of any change in address, giving both old ami new address.
Published Monthly by Brewster Publications, Inc., at I imaica, V Y.
Entered at the Post Office at Jamaica, N. Y., as second-class matter, under the ad of March 3rd. W9.
PRINTED IN U. S. A.
Eugene V. Brewster. President and Editor-in-Chief; Guy L. Harrington. Vice-President and Business Manager; L G. Conlon. Treat
E. M. Heinemann. Secretary.
EXECUTIVE and EDITORIAL OFFICES, 175 DUFFIELD ST., BROOKLYN. N. V
Copyright, 1923, bv Brewster Publications, Inc., in the United States and Great Britain.
SUSAN ELIZABETH BRADY, Editor
ADELE WHITELY FLETCHER, Managing Editor
Harry Carr Western Representative
A. M. Hopf muller Art Director
Duncan A. Dobie . . Director of Advertising
This magazine, published monthly, comes out on the 12th. Its elder sister, the
1st of every month. SHADOWLAND appears on the 23rd of the month.
Motion PiCTfRF MagAZINX, comes out on the
, is on thl
Announcement for October
The Camera Man Confesses
Wouldn't you like to know the odd and interesting little things the camera man has discov-
ered about all the different stars who have posed for him? Harry Carr has at last persuaded
one to talk. . . .
The Powers Behind the Screen
Is the" title of ;i series of articles by Stanton Leeds on the nun who have made the movies
what they :ire today. This absorbing and informative series will star! in the October Cl ISSIC.
(Five I
.mmm
If He Had Passed It Up
He Would Still Be A Laborer At $2 A Day. No
Money, Nothing Ahead But Hard Work, Longer
Hours — and Regrets. But He Didn't Pass It Up.
He decided to learn Mechanical Drawing. He be
down to wiiil, with the Columbia School of Drafting.
When lie had a quiet half hour to spend he spent it —
;is a wise man spends moues to gel nil] returns.
MADE $275 EXTRA IN 3 DAYS. He recently received
$275 for one (hawing thai only took- him three days to draw.
NOW HOW ABOUT YOU? Are you working up hill or
downf Count the money in your pay envelope next
pay day. You'll find the answer there.
MAKE $35 to $100 a WEEK. We will train you I" he
an expert Draftsman in your spare time at home by
mail. 'rh< re's lots of mom tor \nu if you net now.
PROMOTION IS QUICK. We'll qualify yon for a high-
salaried position in the drafting field and keep you in
touch with openings for Draftsmen in the big machine
shops, industrial plants ami United States Government
departments. Men who start as Draftsmen are often ad-
vanced to Chief Draftsmen. Chief Engineers, Production
Manatees and sn on.
GET THE RIGHT TRAINING. Mr. Claflin. the founder
and director, stands personally in back of the Columbia
School (if Drafting. You spend no time in long winded
theories — useless and expensive to you. You start on
actual drawing work tie- daj vou receive your flrsl lesson.
YOU NEED NO PREVIOUS TRAINING. The course
is easy to understand and easy to follow. Many stu-
dents ;,re qualified even before they complete Hie emus.
SUCCESS CALLS MEN OF ACTION ONLY. If yen
are a man of action clip the coupon now and show that
you are a man of actum. Keep right on top of this
opportunity to make real money. Don't go looking for
a pair of scissors. Tear the coupon off and mail it right
now. We have a special offer for those who reply
promptly. Get started now.
What We Give You
PRACTICAL PROB-
LEMS. Y'ou are carefully
coached in practical
Drafting work.
WE HELP YOU GET A
JOB. We help you get a
position as a practical
Draftsman as soon as ynu
are qualified.
PERSONAL INSTRUC-
TION AND SUPERVI-
SION THROUGHOUT
THE COURSE. You re-
ceive the personal instruc-
tion and help of Roy C.
Claflin. president of the
Columbia School of Draft-
ing and a practical
Draftsman of many years'
experience.
DRAFTSMAN'S EQUIP-
MENT. We furnish you
with a full set of Drawing
Eciuipmxut and Drafting
Instruments as shown in
the picture below when
you enroll. You keep both
sets on completing the
CONSULTATION PRIVI-
LEGES. You aie free in
write us at any time for
atlvice and suggestions re-
garding your success.
DIPLOMA. The diploma
we give you on complet-
ing the course attests to
your proficiency as a
Draftsman. It is an "en-
tering wedge" to success.
FREE SUBSCRIPTION
TO DRAFTSMAN'S
PUBLICATION ''THE
COMPASS." You are
given free a subscription
to our helpful, inspiring
pnblication"The Compass. "
Given to Students
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The following are a few of the many positions open in
Government Departments from time to time. The salaries
are starting salaiies. subject to increase. Practically all
ot them carry a bonus of $1'40 a year additional.
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craft Factory — $15.04 per day.
Aeronautical Draftsman — Field Service of
Navy Department — $5.20 per day to $12
per day.
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we will send you our book'.
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Roy C. Claflin, President
Dept. 2115. 14th&TSts., N.W. Washington. D. C.
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' Slate Age I
Current Stage Plays
{Readers in distant towns will do well In preserve this list for reference when these
spoken plays appear in their vicinity.)
Belmont. — "You and I." A Westchester
society comedy with sparkling repartee-
cloaking an undercurrent of tragic middle-
age — H. B. Warner as the husband, who
has stifled genius ior the sake of a family,
and Lucile Watson as the wife, who tho
deluged with love, feels the resentment of
ln's disappointment.
Booth. — "The
Seventh Heaven."
II a n d m a d e on a
melodramatic pattern
i n a M on t mar tr e
tenement in Paris,
of an admixture of
love, regeneration,
humor and unreality.
An excellent per-
formance with Helen
Menken starring.
i 'arroll. — "Vani-
ties of 1923," with
Peggy Hopkins
Joyce leading the
delectable and in-
numerable vanities.
( tisiiw. — "Wild-
flower," with lovely
Edith Day flashing
thru an exquisite
musical score.
(. entury Roof. —
Artists and models.
Review later.
Cohan. ■ — ■ "Adri-
enne." One of the numerous musical
comedies that are keeping the mercury
from getting up-stage. The chorus is un-
usually good, the singing happy. Billy
Van and Richard Carle, the latter of "The
Spring Chicken" fame, ^akc care of the
laughs.
Corf. — "Merton of the Movies." In
which Glenn Hunter self-visualized as a
movie hero of the "great open spaces"
plays havoc with our emotions as an arch
comedian. The play carries the same
poignant humor that was rampant in
Harry Leon Wilson's story of the same
name.
Daly's. — "The Newcomers." A revue by
Will Morrissey and Joe Burroughs. Re-
view later.
Elliott. — "Rain." A bitter tragedy by
Somerset Maugham ; a violent attack on
the repressions of Puritanism. Jeanne
Eagels is superb in the leading role.
Empire. — "Zander the Great." A melo-
drama with Alice Brady as a hick tender-
foot, a child as an uplift foil and boot-
legging ranchmen of the storied-Western
type to stir up things. Fine acting of an
improbable story with a laugh in every
line and moments of tense excitement.
Gaiety.— "Aren't We All?" Cyril Maude
in a delightful light comedy that revolves
around a philandering husband and an in-
discreet wife. Mr. Maude in a Grumpy-
ish character sets a rare pace of fun and
his support keeps it up.
Garrick. — "The Devil's Disciple." A
Shaw satire, which as usual shows up the
under side of militarism and politics. It
ends ungallantly on a triangle. An ex-
cellent show with Roland Young as Gen-
eral Burgoyne alone worth seeing.
Globe. — "George White's Scandals." A
de luxe edition of gorgeously gowned
beauties that make scandals appetizing, in-
cluding parodies on "Chauve-Souris" and
the "Moscow Art Theater."
Harris. — "Icebound." A drama delineat-
ing the icebound quality of New England
emotions; well acted. Awarded the
Classic's List of Stage Plays
and Revues in New York
That You Should See
■>
"Rain"
"The Fool"
"7th Heaven"
"Merton of the Movies"
"The Devil's Disciple"
"George White's Scandals"
Pulitzer Prize for the best play of Ameri-
can life for the season 1922-1923.
Hudson. — "So This Is London." George
Cohan's English comedy. An exaggerated
but an amusing study of the English and
American temperament, in contrast.
Liberty.— "Little Nellie Kelly." One of
George Cohan's best
— a cyclone of dance
and song.
Morosco. — "Not
So Fast." Old style
Southern gentleman
stuff with a family
estate in jeopardy.
Rather a slow mov-
ing comedy.
.1/ u s i c Box. —
"Music Box Revue."
Irving Berlin's spec-
tacular revue with
no expense spared
in producing beauti-
ful effects. Bobby
Clark is the fun-
maker.
New Amsterdam.
— "Ziegfeld Follies."
Still so successful
that a new show
will not be put on,
as annually, but only-
new features added.
Eddie Cantor, the
black-face comedian,
will replace Will Rogers.
New Winter Garden. — "The Passing
Show of 1923," with Jobyna Howland,
Joan Hay, Walter Woolf and George
Hassell surrounded by a chorus of one
hundred elaborately accoutered.
Palace. — Keith vaudeville. Always a
good bill, and drawing more and more
•talent from the headliners of the regulars.
Pr ovine etown. — "Sun Up." A passion-
ate tragedy of the North Carolina
mountain folk centering around a fatal
revenue raid for the father and the World
War for the son. The Widow Caglc is
superbly played by Lucile La Verne.
Republic. — "Abie's Irish Rose." An
amusing study in temperaments of the
Irish and Jew in which the irreconcilable
is reconciled thru that emotion that knows
no boundary lines.
Sekvyn. — "Helen of Troy." A musi-
cal comedy, the book by Kaufman and
Connolly and the lyrics by Kalmar and
Ruby. It has a coherent plot and deals
with the adventures of a girl in a collar
factory in an up-state city.
Times Square. — "The Fool." A drama
about a man who tries to follow the life
of Christ in modern locale. While you
are out of the glare of the white lights it
gets under the skin.
OX TOUR
"Blossom Time." A delightful musical
comedy based on the life of Franz Schu-
bert.
"Bombo," extravaganza musical with
black-face comedy.
"Caroline," a musical gem.
"Dew Drop Inn," in which tangoing and
black-face jigging vie for first place.
Second company.
"Irene," with an all-star cast composed
df the original principals of the company.
A musical comedy.
"Lady in Ermine," a musical comedy.
(Continued on page 96)
(Six)
The Most Darintf Booh
Ever Written!
Elinor Glyn, famous author of "Three Weeks," has written an
amazing hook, that should he read hy every man and woman
— married or single. "The Philosophy of Love" is not a novel
— it is a penetrating searchlight fearlessly turned on the most
intimate relations of men and women. Read helow how you can
get this thrilling hook at our risk without advancing a penny.
WILL you marry the
man you love, or will
you take the one you can
get?
If a husband stops loving
his wife, or becomes infatu-
ated with another woman,
who is to blame — the hus-
band, the wife, or the
"other woman? "
Will you win the girl you
want, or will Fate select
your Mate?
Should a bride tell her husband
what happened at seventeen?
Will you be able to hold the love
of the one you cherish — or will your
marriage end in divorce?
Do you know how to make people
like you?
IF you can answer the above ques-
tions if you know all there is
to know about winning a woman's
heart or holding a man's affections
—you don't need ''The Philosophy
of Love." But if you are in doubt —
if you don't know just how to
handle your husband, or satisfy
your wife, or win the devotion of
the one you care for — then you
must get this wonderful book. You
can't afford to take chances with
your happiness.
ELINOR GLYN
The Oracle <>/ Line'
What Every Man and
Woman Should Know
-liow to win the man
you love,
—liow to win the girl you
■rant.
— liow to hold your hus-
band's Love.
—how to make people
admire you.
—why men "step out"
and leave their wives
alone.
—why many marriages
end in despair,
—how to hold a woman's
affection.
—how to keep a. husband
home nights,
—why most women don't
know how tomake love.
— things that turn men
against you.
— how to make marriage
a perpel ual honey-
moon.
—the "danger year'* of
married life.
— how to ignite love —
how to keep it flaming
— how to rekindle it if
burnt out.
— how to cope with the
"hunting instinct" in
men.
— how to attract people
you like.
— why some men and
women are always lov-
able, regardless of age.
— how to make love keep
you young.
— must all men be either
"dubs" or devils J
— how to increase your
desirability in a man's
eye.
— how to tell if someone
really loves you.
— things that make a
woman "cheap" or
"common."
— how to make people
do the things you want
them to.
What Do YOU
| Know About Love?
DO you know how to win the
one you love? Do you
know why husbands, with de-
voted, virtuous wives, often be-
come secret slaves to creatures
of another "world" — and how
to prevent it? Why do some
men antagonize women, finding
themselves beating against a
stone wall in affairs of love?
When is it dangerous to disre-
gard convention? Do you know how to
curb a headstrong man, or are you the
victim of men's whims? Do you know how
to retain a man's affection always? How
to attract men? Do you know the things
that most irritate a man? Or disgust a
woman? Can you tell when a man really
loves you — or must you take his word for
it? Do you know what you MUST NOT
DO unless you want to be a "wall flower"
or an "old maid"? Do you know the little
things that make women like you? Why
do "wonderful lovers" often become
thoughtless husbands soon after marriage
— and how can the wife prevent it? Do you
know how to make marriage a perpetual
honeymoon?
In "The Philosophy of Love," Elinor
Glyn answers these precious questions —
and countless others. She places a magni-
fying glass unflinchingly on the most in-
timate relations of men and. women. No
detail, no matter how delicate or avoided
by others, is spared. She warns you gravely,
she suggests wisely, she explains fully.
A book of this type, to be of great value,
could not mince words. But while Madame
G lyn calls a spade a spade — while she deals
with strong emotions and passions in her
frank, fearless manner — she nevertheless
handles her subject so tenderly and sa-
credly that the book can safely be read
by any grown-up man or woman. In fact,
anyone over eighteen should be compelled
to read "The Philosophy of Love"; for.
while ignorance may sometimes be bliss.
it is folly of the rankest sort to be ignor-
ant of the problems of love and marriage.
As one mother wrote us: "I wish I had
read this book when I was a young girl —
it would have saved me a lot of misery and
suffering."
SEND NO MONEY
YOU need not advance a single penny
for "The Philosophy of Love." Simply
fill out the coupon below — or write a letter
— and the book will be sent to you on
approval. When the postman delivers the
book to your door — when it is actually in
your hands — pay him only $1.9S, plus a
few pennies postage, and the book is yours.
Go over it to your heart's content — read
it from cover to cover — and if you are not
more than pleased, simply send the book
back in good condition within five' days
and your money will be refunded instantly.
Over 75,000,000 people have read Elinor
Glyn's stories or have seen them in the
movies. Her books sell like magic. "The
Philosophy of Love" is the supreme culmi-
nation of her brilliant career. It is destined
to sell in huge quantities. Everybody will
talk about it everywhere. So it will be ex-
ceedingly difficult to keep the book in print.
It is possible that the present edition may
be exhausted, and you may be compelled
to wait for your copy, unless you mail the
coupon below AT ONCE. We do not say
this to hurry you — it is the truth.
Get vour pencil — fill out the coupon
NOW. Mail it to The Authors' Press,
Auburn, N. Y., before it is too late. Then
be prepared for the greatest thrill of vour
life!
| Tl
The Authors' Pran Dept. 1S& \i.i>um. \. ^ .
i-->r Olyn's •
ihy ••( I ove." When ii.
man deli -.>r. I will pay him
only S1.08, pi It is under-
lered ■
purchase. It' Ok- book does not ,
turn it
in\* time
1 Fund my mi t
i
1
1
' n tiold. with i;- -i.l ToiTaand hhtm 9Uk M-'r*
place ■ t- ■ ma p*> 1
-tasr*. 1 1
1
1
1
1
1
L
MPOR I \n :
runon.
■Tfl
//
Jn ALLAN DWAN proton
Jawful Jarceny
cr-with, JtopcJfampton, SNiin. CNaldi,
Conrad CNaacI, 6r JJciv Cody
The lesson of "Lawful Larceny" is a lesson for every married
couple.
Hope Hampton is the charming young wife who returns
from Europe to find her husband, Conrad Nagel, snared by
another.
To fly into a temper will avail nothing. To get him back by
love-inspired guile and diplomacy! that is the way and that is
the excitement of the photoplay.
By an unlawful larceny had he
been taken from her by Nita Naldi,
....« • dangerous siren and modern Cleo-
patra— and by "lawful larceny"
she attempts recovery.
Does she succeed?
Don't miss seeing this great pro-
duction, made by the director ot
"Robin Hood," the last word in
marvelous settings, gowns, con-
summate acting and thrilling plot.
A Peter B. Kyne
$5^7SS5gg>foS3ras7&: :-♦ *
th
Annual
A Nation-wide Celebration
of Great Artistic Advance
in Screen Entertainment
Paramount Week Sept. 2 — 8
With Paramount Week the greatest motion
picture season the world ever saw gets well
under way.
After years of experimentation the art of
the screen is coming to perfection.
The year just past has been one of extra-
ordinary development. A single incident
has been the advance showing by Para-
mount of the greatest photoplay ever made,
"The Covered Wagon."
And now in Paramount Week you have
the opportunity for a grand review of 1923's
achievements and a pre-view of the great
Paramount Pictures coming.
Celebrate Paramount Week at your own
theatre as millions have during five previous
annual Paramount Weeks.
A few of the great Paramount Pictures
of the Past Season
'Blood and Sand." A Fred
RODOLPH VALENTINO in
Niblo Production.
JACK HOLT in "While Satan Sleeps.
Special.
CECIL B. DeMILLE'S "Manslaughter," with
Thomas Meighan, Leatrice Joy and Lois Wilson.
"THE OLD HOMESTEAD," with Theodore
Roberts. A James Cruze Production.
A George Fitzmaurice Production, "TO HAVE
AND TO HOLD," with Betty Compson and Bert
Lytell.
A William deMille Production, "CLARENCE,"
with Wallace Reid, Agnes Ayres and May McAvoy.
THOMAS MEIGHAN in " Back Home and Broke."
GLORIA SW ANSON in "The Im-
possible Mrs. Bellew." A Sam Wood
Production.
A George Fitzmaurice Production,
"KICK IN," with Betty Compson
and Bert Lytell.
paramount
(Eight)
{Paramount
Week,
[continued]
JACK HOLT in Making a Man.'- A Peter B. Kync
Special.
CECIL B. DeMILLE'S Production, "Adam's Rib," with
Milton Sills. Elliott Dexter, Theodore KoslofT, Anna Q,
NUtaon and Pauline Garon.
AGNES AYRES in "Racing Hearts," with Theodore
Roberts and Richard Dix.
An Allan Dwan Production, THE GLIMPSES OF THE
MOON." with Bebe Daniels and Nita Naldi.
POLA NEGRI in A George Fitzmauricc Production.
"BELLA DONNA." Supported by Conway Tearle, Conrad
Nagel and Lois Wilson.
A William drMtllc Production. "GRUMPY." with May
McAvoy, Theodore Roberts and Conrad Nagel.
GLORIA SW ANSON in "Prodigal Daughters" A Sam
Wood Production.
A George Melford Production, "YOU CANT FOOL
YOUR WIFE," with Leatrice Joy, Nita Naldi, Lewis Stone
and Pauline Garon.
THOMAS MEIGHAN in "The Neer-Do-Wcll "
A Herbert Brenon Production, "THE RUSTLE OF
SILK." with Betty Compson and Conway Tearle.
BEBE DANIELS and Antonio Moreno in "THE EX-
CITERS."
AGNES AYRES in "The Heart Raider."
A William deMillc Production, "ONLY 38," with Lois
Wilson, May McAvoy, George Fawcett.
A Herbert Brenon Production, "THE WOMAN WITH
FOUR FACES," with Betty Compson and Richard Dix.
"CHILDREN OF JAZZ." with Theodore Kosloff. Ricardo
Cortez, Robert Cain and Eileen Percy.
JACK HOLT in "A Gentleman of Leisure."
DOROTHY DALTON in "The Law of the Lawless." A
THOMAS MEIGHAN in "Homeward Bound."
A few of the great Paramount Pictures
of the New Season
A James Cruze Production, "HOLLYWOOD," with 22
real stars and 56 screen celebrities.
POLA NEGRI in A George Fitzmaurice Production,
"THE CHEAT," with Jack Holt, supported by Charles
deRoche.
GLORIA SW ANSON in A Sam Wood Production,"BLUE-
BEARD S EIGHTH WIFE."
"THE PURPLE HIGHWAY," with Madge Kennedy.
A William dcMille Production, "SPRING MAGIC."
with Agnes Ayres, Jack Holt, Charles deRoche, Mary
Astor and Robert Agnew.
A James Cruze Production, "RUGGLES
OF RED GAP," with Edward Horton, Ernest •'^f>
U\ky
prt\tm
Torrence, Lois Wilson, Fritzi Ridgway,
Charles Ogle and Louise Dresser.
A Zane Grey Production, " TO THE
LAST MAN," with Richard Dix and
Lois Wilson.
A George Melford Production, "SA-
LOMY JANE." with Jacqueline Lo-
gan. George Fawcett, Maurice Flynn.
GLORIA SWANSON in
an Allan Dwan Production,
"Zaza."
THOMAS MEIGHAN in
George Ade's "All Must
Marry."
K.^2
Charles Maignc
production °
"7k Silent Partner
with Leatrice Joy,
Oivcn Moore & Robert £,dc\on^
From [he jior> by Maximilian Foster, Screen pltrj bj S.i..'.i Cuu«n
What should the wife of a Wall Street gambler
do who seeks to save him from ruin?
Paramount answers this question with "The Silent
Partner," a new and terrifically powerful handling
of the theme of love versus the fever tor gain.
In the days of prosperity and golden winnings, the
beautiful young wife, Leatrice Joy, determines to
start "gold-digging" from her husband, Owen Moore,
and build a reserve unknown to him.
But how to look as though she is spending the
thousands he gives up, that is the question!
How to make a $20 gown or a $5 hat or a paste
necklace look like ten times the value? She does ihis!
And see what happens when the crash comes!
£pictur&s
*' "'^Ntx "7*
^^fflX^^^:::s^>>:jr/^/Aw<^:>i*: .^^^:^^^^^&^?r&:^
Famous Players -Laskv Corp ]
adolpm zukor- president
*vh yo*h Cn
(Nine)
ypu too, can ham^
"A Skin You Love to Touch"
by Guy Hoff
oAre you dissatisfied —
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By giving this new s\in the care it
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You will find the right treatment —
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booklet of famous skin treatments,
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is wrapped around every cake of
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Thousands of girls and women, by
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have built up a fresh clear, beautiful
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for, by giving it this special care.
Get a cake of Woodbury's today, at
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— sec what an improvement even a
week or ten days of the right treat'
ment will make in your complexion.
A 25 cent cake lasts a month or six
weeks. Woodbury's also comes in
convenient 3'cake boxes.
Three Woodbury skin preparations —
guest size — for 10 cents
THF ANDREW JERGENS CO..
"J09 Spring Grove Avenue, Cincinnati, Ohio.
For the enclosed 10 cents — Please send me a
miniature set of the Woodbury skin
preparations, containing
A trial si:e cake of Woodbury's Facial Soap
A sample tube of the new Woodburv's Facial Cream
A sample box of Woodbury's Facial Powder
Together with the treatment booklet. "A Skin Yon Love
to Touch.1*
If you live in Canada, address The Andrew Jergens
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English agents: H. C. Quelch & Co., 4 Ludgate
Square, London, E. C. 4.
Name
Street
City State
Cut out this coupon and send it to us today
ii^J^
Copyright, IVSS, 6j/ The Andrew Jrrama Co
(Ten)
Decoration thru the courtesy of Agnes Ayrcs
Good and Bad Authorship
By CLARA BERANGER
Editor's Note. — Clara Ber anger is a prominent scenarist. She is re-
sponsible for "Grumpy," "0)ily 38," and others too numerous to mention.
We offer these (to us) delightful animadversions without comment.
AT the recent International Congress on Motion Pic-
ture Arts, I sat thcu a lot of speeches and dis-
cussions by members of the Authors' League (of
which I am one) and Of various other professions; and
one glaring fact struck me — the almost unanimous pre-
supposition that all authors of books and plays are good,
and all authors of screen plays and workers for the screen
are bad.
There are plenty of bad pictures, and plenty of adapters
of novels and plays for the screen who are bad, but there
are also plenty of good ones. But equally true it is that
many of the books that are published — most of them in
fact — are bad. Of the plays that are produced each year,
possibly five per cent, are good ; and yet these authors —
and it is usually the bad ones who cry the loudest — pick
on pictures every chance they get and proclaim how rotten
and commercial the whole industry is.
I have yet to hear anyone connected with pictures who
does not frankly admit that most of them have not yet
reached a standard that could be called art ; but I have
yet to hear an author, or a playwright, admit that the
majority of books and plays are as bad as the majority
of pictures. If you stop to think of the mass of junk
published every year, as literature, and the number of
bad plays produced every year, you will, in all fairness,
have to draw the same line between good and bad author-
(Eleven)
ship in these fields of literary endeavor as you do in the
field of screen-writing.
Most of the writers who air their grievances and de-
clare that the screen is a business — that the producers
think only of making money — are only too willing to sell
whatever they can to the picture producers for a flat stun
of money and make no stipulation about working with
the adapter and director in translating their work to the
screen. I happen to know that almo-t every one of the
picture companies welcomes the cooperation of the author
in the development of the picture : and it is always
sible for an author to get a clause in his contract giving
him the privilege of sitting in on the scenario conferences
and on the final cutting and editing of the picture. But
what the author want- is money; Ik- i- not willing I
give up his time. Dear, artistic creator — he would alwav<
rather take the money than give any further time to pro-
tecting those delicate brain children from the cruel hands
of the picture doctors. It i- so much easier to wait until
the picture is finished and then ^et up a howl about how
terrible pictures are — what ignorant, inartistic, commer-
cial people work in picture- '
Talk is cheap — time i- expensive, and so the-e aut1,
most of them as mediocre, or more so. than the -creen
worker-, talk, talk, talk, and take unto themselves their
i Continued <>»i pa
Photograph by Edwin Bower Hesser
Whose odd and elusive charm is being regis-
tered in Goldwyn's sumptuous picture play,
"In the Palace of the King." Miss Starke zvas
selected recently as one of the six most beauti-
ful screen actresses
Pauline Starke
Phctograph by Edwin Bower Hesser
Corinne Griffith
Has finished Elinor Glyn's "Six Days," and is back
in the East — but no one knows yet what good things
are in store for Iter. Her devoted press men hint
at a wonderful surprise. . .
Photograph by Richee
Sigrid Holmquist
A young Swedish star of considerable distinction
in her own country, now proposes to add America
to her list of cofiqucsts. She has been signed by
Famous Players to play in "A Gentleman of Lei-
sure," opposite Jack Holt
Photograph by Victor Georg
Mary Beth Milford
Who left the Music Box Revue flat for the movies.
She will flay offostlc John O'Har'a in F. B. O's
"Fighting Blood'' series
7
Photograph by Ira I. Hill
Is a combination of Richard Barthelmess and
Rodolph Valentino in appearance. For himself
there is a pronounced individuality. He is the
romantic hero of the Sabatini novel, "Scara-
mouche," soon to be released
Ramon Navarro
Photo © by Paul Grenbeaux
Bessie Love
This gifted girl has lingered in obscurity too long.
She was given a chance in a highly emotional
role in "The Eternal Three" and made a tre-
mendous impression. She has now one of the
tragic roles in Mrs. Wallace Reid's picture.
"Human Wreckage"
WHEN they finish shooting the scene(
and the Kleig lights go out, where do
the movie stars go ?
Perhaps they all go out and have a game
of golf. Golf, tennis, automobile racing,
airplaning all have had their turn ; but movie
stars must have new thrills, new experiences.
What sport in the wide world can fulfil these require-
ments but the old and romantic sport of kings — that of
boating. Yes, the movie stars have taken to the water
— not as ducks, but as yachtsmen. If you dont believe
it, just take a run down to Wilmington some afternoon —
it's only forty minutes from Hollywood — and watch the
ducks, I mean the yachtsmen.
Who was it that said there were no thrills on the
water? Seventy miles an hour on the water is the
fastest speed in the world. It is faster than a hundred and
fifty miles an hour in an automobile. It is faster than
two hundred miles an hour in an airplane. Yes, it is
even faster than seven cocktails and a bevy of dancing
girls in a gilded cafe.
There are plenty
The Sport
of Kings — and
Movie Stars
By
CHARLES F. BERRY
Seventy miles an hour on the water is
the fastest speed in the world. It is
faster than a hundred and fifty miles an
hour in an automobile. It is faster
than two hundred miles an hour in an
airplane
Tom Mix, Tony and Thomasina launching Miss
Mixit, Tom's new high-powered motor cruiser
Top of the page
is Cecil de Mille's
yacht, Seaward, at
anchor off the
California Yacht
Club. Left is
Dustin Farnum
at the wheel of
his speedboat.
Dustin also sails
a little starboat
(Eighteen)
t
CI VSSIC
of thrills, all i ight. It'-- a man
sized job when your speedboat
leaves the water and starts to
leap from wave to wave. You
come roaring down the course
with a noise like a battery of
machine guns, You take a turn
and your, boal behaves like a
submarine. Or supposing your
mechanician fails to see a piece
of driftwood the size of an old
soldier's cane. It rips your
boat open like- a can opener thru
a can of green peas. < )r if it
happens to be a submerged rail-
road tie, you hit with a crash
like Halley's cornel bumping
Neptune. You blow up like a
can of dynamite and then take
a nose dive to the bottom of the
sea. Sport ? You bet !
Ask Cecil de Mille whether
there are any thrills. De Mille
built the Miss Cecilia to raee
against (iar Wood's world
champion speedboat Miss
America. De Mille was driving
at a comfortable speed, say
fifty miles an hour, when sud-
denly there was a flash, a
rumble, and then a terrific
blast. In the next instant De
Mille found himself in the
water with the flames rising in
the air a hundred feet from his
boat. A minute later the boat
went to the bottom spreading
the flaming gasoline out on the
surface of the water.
Al Fear. De Mille's mecha-
nician, was rendered uncon-
scious by the blast and De
Mille swam to his aid. The
surface of the water was one
mass of flames, cutting off all
help. Finally Xat Walsh's
boat cut thru the cordon of
flames rescuing the drowning
men. And yet they say there
are no thrills in boating. What
is a movie thriller to this; ?
If you've ever sat on the landing of the California
Yacht Club at twilight and watched the little starboat
fleet hovering into port like a flight of belated curlew,
you'd understand another trait in these people from Holly-
wood. We've heard so much of divorce and the night
life in Hollywood that — oh well just come clown to Los
Angeles harbor and find the movie stars drinking in
God's beauty and playing the sport of kings.
Perhaps you'll find Dustin Farnum there. Dustin likes
to sail the little starboats. so small that they remind one
of the story of three men in a tub. But if you think
you cant get a thrill out of starboating you're mistaken.
Falling off horses and leaping across yawning canyons
dont compare with it.
Even the Wild West had taken to the sea. Among
others. Tony, Tom Mix's famous pal, prefers yachting
to wild west stuff. Of course you've heard how Tony
helped launch Tom Mix's boat the other day. It was a
regular wild west launching party (who ever heard of
a wild west launching party) with tall sombreros, forty-
four guns, and lariats. Tom threw a rope around the
new boat and Tony pulled it into the water. Now isn't
The beautiful schooner, Uncas, of John Bowers, which will compete this
summer in the great international race from the Santa Barbara Yacht
Club to Honolulu
that a helluva — excuse me — a peculiar way to launch a
boat?
Of course all the movie stars were there at the
christening of the Miss Mixit. Miss Thomasina, or Miss
Mixit a- the family call the little lady of a single year,
officiated. She pulled the string that broke the bottle that
christened the boat that Tom built.
But getting back to boats — Miss Mixit is a boat to be
proud of. She is a 09- foot cruiser powered with two
200 horsepower I.M-0 Hall Scott mot >rs. A large cock-
pit has been constructed aft which Tom will use for a
gymnasium. Tom >»ys there will he plenty of room for
a riding arena too. for Tom insists that Tony must he
included in all arrangements, yachting or otherwise.
There are thrills to be had in the big boats too. A
short time ago Cecil de Mille left on a daring trip to
Infernal Channel and Tiburon Island on his yacht
Scazcard. The Infernal Channel is one of the most
dangerous water passages in the world, which makes
landing on Tiburon Island a hazardous performance.
The island has been reported by previous explorers to be
{Continued on page 82)
' Xineteen)
Moonlight and Sweet Summer Madness
This charming scene is from "The Falcon," an episode from the Decameron made
into a picture by the Lund Productions. The film is in colors, a new and improved
Prizma process, and is reported to be an artistic triumph. Henry Hull plays the gallant
young Count Federigo and Irma Harrison plays the lady of his heart, Lady Giovanna
(Twenty)
How the
Motion Picture
Has Influenced
Young Peru
By
HELEN APPLETON READE
IT is not the Radio or the Telephone, the Telegraph or
the aeroplane, which is the greatest internationalizer,
but the Moving' Picture.
For all of us, whether we pass our intelligence test at
the top or at the bottom, visual appeal must always be
the strongest and the most easily understood. That a
photograph will give an understanding of a place or per-
son, which the most accurate description can never
give, is, of course, a truism. And a photograph
plus a well-chosen caption is a combination for
getting information painlessly, and in capsule
form, that is hard to beat. Hence, the popu-
larity of the ''Daily News" and like publica-
tions.
Therefore, when our financial missions,
our educational and medical investigators,
and teachers go to Latin-America to
bring her up to North American stand-
ards on the invitation of some of the
more up-to-date Presidents, let them real-
ize that a few well-chosen moving pictures,
typical of the best in North American life,
will do more to inculcate North American
ideals than any number of lectures and ar-
ticles in the newspapers.
And by this I do not mean educational films.
Any picture which gives an accurate account of North
Above (left), Hill women of the Andes who have
become movie fans. Below, Peruvian Indians stand-
ing before a motion picture hut looking at the
posters. They cannot read. Below (left), Hill wom-
en weighing llama wool which they buy and spin
American manners and environ-
ment, especially when it carrie-
with it an amusing story, and at-
tractive actors, has great influence.
In the City of Lima, there are
more cinemas, as they call them.
in proportion to the population,
than in any city of the I'nited
States There is no other form
of amusement. Traveling thea-
trical and operatic troupes are
rare. The people, especially the
women, cannot gamble, or drink
Pisco, the native home-brew, all
the time, and the national sport
of bull-fighting has but a *.hort
season. In consequence a city of
moving picture fans has developed.
(Twenty-one)
CLASSIC
In one city bluck there will be as many as five
moving picture houses. The coming attractions
are advertised weeks ahead. "Gran Estreno"
they call them, and banners are strung across
the streets from balcony to balcony telling
what they are to be. There are generally
two performances a day, the Vermouth,
which starts at six-thirty in the after-
noon and an evening performance
commencing at nine o'clock. Peruvian
meals are elastic, dinner comes any
time between eight and nine o'clock,
so the Vermouth is the more pop-
ular performance.
Strangely enough, it is not ro-
mances of Spanish sehoritas or tore-
adors that interest the Peruvian
movie fan, but stories of North Amer-
ican life. Mary Pickford, Norma and
Constance Talmadge, Ruth Roland, and
Pearl White are among the favorites. They
have as devoted admirers in a little Indian
town in the interior of Peru, as they have on
Broadway. It is safe to say that American films
always draw the largest audiences, with the possible ex-
ception of the Caesar films, which star Bertini, the beau-
tiful Italian Movie actress.
The reason for this is, that foreign films have for the
most part very little action. The eternal triangle, the
plot used most often in French and Italian pictures, pales
in interest beside the perils that Pearl White escapes or
the miraculous deeds of Eddie Polo.
When one realizes the popularity of American films,
it is hard to understand why so few of the good ones
come to South America. In the five years that I lived
in Lima, the only big American film that I saw was
Farrar in "Joan the Woman." When Mary Pickford,
William S. Hart, and other favorites come to town, it is
always in their less important films and these are gen-
erally four or five years old.
Constance Talmadge is undoubtedly the most beloved
of the Peruvians. Her dress, her figure, her mannerisms
have become the ideal of the Peruvian flapper.
And here let me cite certain direct and definite changes
that the American screen has brought about in Peruvian
life and manners. Changes which cannot be attributed to
any other source. Until the advent of the ubiquitous
cinema, Peruvian girls dressed in a South American ver-
sion of European styles of the nineties. They wore very
short-vamp high-heeled shoes, had small waists, large
hips and otherwise overripe curves. Their clothes were
always too tight, and black was the predominating color.
The ideal figure resembled that which may be seen in the
chorus of an American burlesque show.
The uncorseted straight figure, the bobbed hair and
flat heels of the American girl were not taken over, altho
seen often enough in the American fashion magazines
until their superior charm was proved in the person of a
film favorite.
(Continued on page 83)
w^mmammmm
Above, "Cholitas"
near Lima on
their way to the
movies. Left, a
moving picture
house in Lima,
Peru, with Pearl
White billed in
"The House of
Hate," and an an-
nouncement for
the American Red
Cross Relief
(Tiventy-tivo)
,
Photograph by Pach Brothers
ALICE JOYCE
They cannot stay away, these one-time stars of the silver screen, and now Alice
Joyce has come back to us, as beautiful — no — more beautiful than ever. She is
making "The Green Goddess" with George Arliss
(Twenty-three)
Foreign
European Studios
MAURICE
FRANCE
DID you ever hear of a marriage being celebrated
at midnight? I have assisted at one, but it
took place on the screen in the new picture pro-
duced in France by Armand du Plessy and which is
called "Manage de Minuit" (The Midnight Mar-
riage). This picture might be a super one, if the pro-
ducer could make the most of such an interesting
subject. Of course, the idea is not new, but it is
presented with a certain amount of originality.
There are however certain scenes in this photoplay
which will certainly not be passed by English or
American censors. I mean some scenes showing the
hero in his relations with the other sex and a villain
of a type to be avoided in public spectacles.
Now this picture of which the cast includes many
well-known French actors, can be said to be a Belgian
one as the producer and the heroine (Miss Nelly
Muriel) are Belgians. But there is a decision of the
Society of Film Authors of France to the effect that
a picture is to be considered of French nationality
if among other reasons, "the producer is or speaks
French."
ENGLAND
"Married Love," the book of Dr. Marie Stopes,
which has been advertised so extensively in England,
has been adapted to the screen and produced at the
British Super Film Studio by G. B. Samuelson. This
is certainly a fine picture, whose story is a study of
the happiness and the troubles of married life.
The troubles are represented by the respectable
number of ten children, the eldest of whom — our
heroine — is afraid of marriage when she sees that
it is so difficult for her poor parents to make both
ends meet.
Except for some few scenes,
this picture is quite an inter-
esting one and is well acted by
Sydney Fairbrother. Sam
Liversay, Rex Davis, and
Lillian Hall Davis.
A very interesting English
film was shown recently which
represents an original idea. It
is not a feature film, just an
educational one. It shows us
what old London was and
what it actually is by means
of old prints introduced skil-
fully in the picture. This is
called "The Romance of Lon-
don" and has been edited by
The Gaumont Company.
GERMANY
Since I started writing this
series of articles, some changes
have occurred in the cinema
industry in Germany. In fact,
in the studios there, they are
(Twenty-four)
Films
At a Glance
ROSETT
not now producing with so much intensity as they
were before, and 1 understand that the importers
will have more business in Germany, as they will in-
troduce more foreign pictures in this territory.
This state of things is due to the rati- of the mark
which, by its depreciation, has augmented consider-
ably the price of the picture productions. < 'f course,
the German stars do not cease working, but the situa-
tion is not \ cry brilliant
t Ksi Oswalda, for instance, quite a good film ac-
tress, is continuing her scries of pictures and she lias
already completed many.
( Issi I 'swalda is one of the best German actn
and is particularly good for roles in which she has
to be waggish, malicious and cunning. She is all
that, at least she seems to be when we see her on the
screen and she has also a very delightful smile.
AUSTRIA
I referred to this c&untry very briefly in my last
article when citing "Don Juan." I may now give you
some more particulars about the film activities in
Austria whose production is often amalgamated with
the German one.
There are, amongst others, two big studies in Aus-
tria, viz : The Sascha Film and the Vita Filmindustri.
The first produced lately a spectacular film origi-
nally called "Sodom and Gomorrah" featuring the
Austrian star, Lucie Doraine, who has a certain popu-
larity in many European countries. At the moment
of writing this article, I am informed that this picture
is now shown in the States under another title.
Another picture made at the Sascha studios is called
"Sons of the Revolution." The episodes of the French
Revolution, most of which more likely occurred in
the imagination of the writers,
seem to attract more and more
the producers of the different
countries.
"Sons of the Revolution" is
an adaptation of the book by
Frederic Soulie and can be
said to be the story of a boy
whose origin is unknown, as
he was born during the troub-
led period of the French
Revolution.
After many adventures, he
will find out who his parents
are and, of course, he has also
the opportunity of finding a
charming wife. There are
some beautiful scenes in this
rather improbable story and
the acting is perfect.
The Vita Filmindustri has
completed a photoplay called
"Bobby."
The hero is a little boy and
a clever actor too, who decides
to become a detective one day
(Continued on page 84)
Above is a
Franco-
Belgian pic-
ture, "Ma-
nage de Minu-
it" (Midnight
Marriage),
Nelly Muriel,
a Belgian cin-
ema actress,
is the star.
Right, "Sons
of the Revolu-
tion," another
Austrian film,
with Oskar
B e r e g i and
Miss Seals-
f oelo. Below
is O s s i
Oswalda, a
German film
star in "The
Girl With the
Mask"
{Twenty-five)
I
F one of these days, some French
family should recognize a familiar
baby face on the screen, there
would be complications — not to say
woe, in the house of De Lacey.
There are queer stories around the
studios of Hollywood and this is one
of the queerest.
It is the story of Philippe de Lacey
accounted by many, the most beau-
tiful child that has ever been seen
on the screen.
During the World War, an Eng-
lish woman named De Lacey who
was living in New York went to the
battle fields of France with the
American Women's Overseas Hos-
pital Contingent. One day she wa's
called to a little hut near Nancy where a woman
lay dying of pneumonia. On the bed with her
was a baby about eighteen months old.
Miss de Lacey had the woman and the child
removed to a base hospital where she died.
Struggling for her last breath, she told as much
as she could of the baby's history and begged
Miss de Lacey to see that somewhere he find
a home. She said that the child's mother was
only seventeen years old and had been killed a
few days before by a German bomb that was
dropped from an aeroplane. The baby's father
— her son — had been killed with his three broth-
ers at the 'defense of Verdun.
Miss de Lacey brought the baby back to New-
York intending to find a home for him some
where. She happened to meet an actress who
knew Geraldine Farrar, and Farrar was at that
time casting a picture. As soon as Farrar saw
the little fellow — at that time two and a half —
his fortune was made.
He is five now and has become one of the
sure-of-an-engagement actors of Hollywood.
Among the pictures in which he has appeared
{Continued on page 82)
Bombed Into the
Movies
By HARRY CARR
Photographs by Paul Grenbeaux
Little Philippe de Lacey, called by many, the most
beautiful child in the movies, has an interesting
story. He is one of the many tragic results of the
Great War. Read how he found his way to the
silver sheet
(Twenty-six j
The Woman and the Mask
Posed by Priscilla Dean for W. F. Seely, L. A.
(Txventy-seven)
Trilby
Written in short story form by Dorothy Donnell
Illustrations by John Ellis
UP the steep
cobbles of
the Pas-
sage des Ab-
besses hastened
a young man
wearing a
wreath of sau-
sages festooned
about his neck
and carrying in
one hand a fan-
tastic nosegay of
scarlet peppers,
glossy young
onions and
daffodils, and as
he went he lifted
up his soul in
song imploring'
some lady of the
name of Chloe
to go a-maying.
The stout
gendarme on the
corner regarded
h i m tolerantly.
Name of a
name, these
artists were
quite mad, but
what would
you ? Madness is
no crime and a
man was not to
blame if the good God had made him an Englishman.
Which, indeed, shows the gendarme to be a man of broad
mind and liberal views. But the young man now disap-
pearing under the archway beyond was not aware of
being pitied, for tho his feet, in undeniably shabby shoes,
trod the rude pavement, his head, which was that of a
young Greek god, was in the clouds. Pausing for breath,
he glanced back thru the arch at Paris, lying below in
the blue luminous mist, the Seine moving placidly under
its white bridges between quays where lime trees blos-
somed and old men in rusty shovel hats browsed among
the dingy treasures of the book-stalls. And his glance
was that of an owner regarding his possessions.
For Paris belonged to Little Billie, Notre Dame was
his own private treasure, and the big bosomed market
women wore red shawls solely to please his eyes.
From somewhere close at hand came the strains of a
violin bringing him about with a visible start of annoy-
ance. "He's got the poor little flea at it again," Billie
Arthur Edmund Carewe in the sinister and immortal role of Svengali
muttered, eying
the attic window
with its torn
green paper
shade gloomily,
"it's a damn
shame, the old
slave driver !
And I suppose
as soon as he
smells these sau-
sages he'll be
down, rubbing
his oily hands,
loving us like
brothers ! And
the worst is he
isn't a gentleman
— you could in-
sult a gentle-
man !"
In the dark-
ness of the hall
Little Billie
fumbled for his
latch key. It
turned around
and around use-
lessly in the
broken lock but
he went re-
ligiously thru
the ceremony of
a householder
before opening
the door with a well directed kick. And so surely did
he know what would be the scene within that he saw it
before the door was opened.
The studio which had once been the untidiest in the Latin
Quarter was now so clean that Taffy wailed he was not
allowed to get paint onto his palette any longer since
the reign of Madame Petticoat. He was — Billie knew —
daubing cheerfully away at his big splashy canvas now,
stopping to pull the tail of the cat, to cheep at the canary,
and to roar with big honest laughter over what Trilby
was saying in her clear, joyous voice. The Laird, being
Scotch and remembering that models cost money, would
be working industriously, wiping his brushes on his curly
beard which was always gay with ultramarine and scarlet
lake, despite the agonized cries from the model throne
each time this occurred. And Trilby
In the darkness Little Billie smiled tenderly, visioning
Trilby sitting majestically with the white stuff of her
classic robe molding the sweet curves of her, one bare
(Twenty-eight)
*
CLASSIC
Trilby, played by An-
dree Lafayette, glad-
dens the sometime sor-
rowful heart of the
Latin Quarter with the
eternal gift of herself
pei fed foot resting
on a footstool. His
lu-ait lifted under the
shabby velveteen
jacket ; he thought it
was because be was
an artist looking OH
beauty, not guessing
it was because he was
a boy. looking on a
girl.
' ' a n d just
think, I always bated
artists when I was
working in the blan-
chisserie because their
shirts were so hard to
wash !" Trilby was
saying as he went in,
''paint streaks and
smooches, and some
of them drew sketches
on their cuffs, and I
know that you. Taffy .
were the one who
used the tails of his
shirt for turpentine
rags !" She clapped
her hands like a child at the bouquet which Little Billie
presented courtierwise on his knee and with a glance at
the clock was down from the model stand and, gingham
apron over the classic robe, was making salad, chattering
gaily all the while, "Ah. mon Dieu, but I am — how do
you say? — hongeree ! Taffy, you shall stir the dressing —
not so hard, Great Stupid ! Oil must be coaxed, like a
woman, and the Laird shall cook the little pigs to a divine
brownness. What a feast we shall have — Oh, tra-la-la-la !"
Trilby's lips were the deeply curved lips of Sappho,
shaped to utter music by the Lesbian Sea on some night
of stars — the simile is Little Billie's — but when she opened
them to sing, strange sounds come forth, a bell-toned
monotone that always sent them into gales of merriment.
No matter what she elected to sing, a strain from opera,
a chanson of the boulevards, it was all the same, tuneless,
discordant. It was not that >he had no voice, for she
had a great deal, but that she was absolutely tone deaf.
In the midst of their laughter, while
the sausages were sputtering fragrantly
over the gas-jet and Little Billie was
setting out the bottles of rough red wine
and the long crusty loaves, the door be-
gan to slide open and a dirty band with
long black-rimmed fingers appeared, fol-
lowed by a pointed oily beard of glittering
blackness topped with a nose like a bird's
beak. The possessor of these endearing at-
tributes wore a frock coat so shiny that
the Laird arranged his tie before it osten-
tatiously as in a mirror. His beard im-
perfectly concealed a deficiency of linen
and his complexion was so dingy that it
was lucky, as Taffy whispered to Little
Billie, that most of his face was whisker-,
but it was his eyes which caught the
glance. They were strange eyes, send-
ing uneasy sensations slipping down the
spine. Seeing them fixed unwinkingly
now on Trilby, Billie's hands clenched,
throttling the loaf of bread he held.
"A thousand pardons!" writhed the
Svengali's method of teaching the tone-deaf
Trilby to sing, terrifies Gecko, her self-
sacrificing and humble admirer
(Tw*nty-nine)
CLASSIC
Taffy and the
Laird and
Little Billie,
Trilby's de-
voted follow-
ers, watch
with consider-
able anxiety
the mending
of Little
Billie's sock.
Trilby darns
between poses
newcomer, "I did not dream that I would find you at
luncheon !" and he looked wistfully at the brown sausages
with their succulent pink insides.
"It was no doubt the music attracted you, eh Svengali ?"
the Laird drawled, ironically waving a hand toward
Trilby, "but coom in and sit ye down," he raised his voice
to a roar, "and the little fiddler too that I can hear sniffing
in the hall, only no mair hocus pocus, mind!"
Gecko, pupil and shadow of his extraordinary master,
slid in, a rabbity youth with a tremulous Adam's apple
which he was forever trying t0 swallow. At the Laird's
last words his pale eyes sought Trilby anxiously, and
under cover of the noise
and merriment he presently
crept to her side. "You do
not eat," he whispered,
"you are the color of your
robe. Oh, why did you let
him try his power on you
last week? Do you not
understand when once he
has looked deep into your
eyes and touched your
forehead with his finger
tips he is your master for-
evermore ?" He twisted
his bony hands together, "I
ought to know ! See he is
looking at us now, he
knows we are speaking of
him. He knows every-
thing ! It is only when I
play that I can escape
him "
As tho summoned invisibly, he rose and crept back to
Svengali's side, but the music-master, rapturously greasy,
continued to cram bits of sausage into his mouth and
dip onions into the salt without noticing him. At last
with a sigh of satiety he wiped his hands upon his beard,
burnishing it to greater effulgence. "Hocus pocus you
call it," he smiled, yellow toothed, "yet with hypnotism
one might do much good "
"What good can it do to make someone believe a pack
of lies?" Taffy growled. "Of course, the Laird here
could use it on customers so that they'd see his daubs as
pictures, and Trilby could use it on an audience and
go in for concert sing-
" he broke off at a
TRILBY
Fictionized by permission from the First National
release of the screen adaptation of Du Maurier's
famous novel. A Richard Watson Tully produc-
tion, directed by James Young. The cast:
Trilby Andree Lafayette
Svengali Arthur Edmund Carewe
The Laird Wilfred Lucas
Zouzou Maurice Cannon
Durien ". Gordon Mullen
Mme. Vinard : Martha Franklin
Rev. Bagot Gilbert Clayton
Impresario Edward Kimball
Little Billie Creighton Hale
Taffy Philo McCullough
Gecko Francis McDonald
Dodor Max Constant
Miss Bagot Gertrude Olmstead
Mrs. Bagot Evelyn Sherman
Laundress Rose Dione
Jeannot Robert De Vilbiss
ing—
strange sound from Little
Billie. Hands clenched into
fists, the boy was staring
from Svengali to Trilby
whose face had grown rigid
and masklike under the
Italian's glittering regard.
"Damn you, take your
eyes off her!" Little Billie
choked and would have
hurled himself on the
musician but for Taffy's
great paw. Svengali's mas-
terfulness vanished. The
doglike Gecko at his heels
hurried out, frock coat tails
abjectly flapping, while
Little Billie writhed im-
potently in the big Briton's
grasp, crying shrilly, "let
(Thirty)
t
( i vssic
Didn'i you .*< i the wa> he wu looking at hei ai
tlu> a> tho she hadn't anything on '"
Trilb) gave ;i deep sigh, like one waking from sleep
Tin- color returned to her face and she flung herself
hing unto the- model stand apparently unaware ol
what had occurred, but Little Billie's hands, touching the
claj with which he was modeling a winged foot, shook
rod lath nudged the Laird frowning. Later they dis
cussed it over glasses of absinthe at the Dead Rat,
"The boy's falling in love with her," Taflry's rumble
was anxious, "what would his Lady mother and his
Reverend uncle say if he brought a little Montmartre
model to The i >aks? Cant you hear his ancestors turning
in their respectable graves, man?"
"He must be daft," the Laird tugged his heard fretfully,
"not that there's anything wrong with Trilby hut cant
he st€ she isn't the kind an English gentleman marries?"
"He sees she is beautiful," Taffy said gently, "he hangs
her about with all the virtues and puts stars in her hair
and says his prayers to her as we all of US — God pity us
do to some woman when we are young."
The Laird's eyes grew wistful with memories, "Aye —
there was a spring in Dungerry and a milkmaid. But alter
I saw her eat one day I dinna loe her any mair. Perhaps
the lad's eyes will be opened. But Trilby is a nice little
thing. I dinna hold with Little Billie's wanting to marry
her, but if he didna want to marry her I would spank
him with my own hand !"
They did not guess that even then IJttle Billie's eyes
were opened and he was looking out upon a different
world in which the gargoyles of Notre Dame leaned over
their parapets to grimace at his misery and the roseate
mists over the boulevard were suddenly rain, and all the
lovely laughing city was a hideous painted hag with mud
drabbled skirts and the smirk of a skull.
For hours the boy tramped the streets. The shadow of
those bittei hours was upon him when he pushed •
the door oi tin- itudlO and faced his friend*. "I'm going,"
he said hoarsely, and began to jerk things blindh into his
bag, slides, shuts, paint brushes while the\ watched, open
mouthed. Then his glance fell on the little white
that was Trilby's and lie Struck it Savagely, and a
wards gathered up the pieces with his eyes brimming
with bus- tears " this afternoon, at the lil
stammered, "I saw her she was posing before them all
— naked — I wanted to kill ever) one of them but I
kill — all Paris and s() [',n going "
The Laird fled cravenly from the task of telling Trilby
that Little Billie had run away and so it fell upon 1
to explain in clumsy words and stumbling phrases the
reason of his going.
"But I di not understand," Trilby cried bewilderedly ,
"all models pose in the altogether. Surely it is no sin to
be looked at unless one is Ugly, and 1 am very prett) with
mj clothes off, not only my foot but all over."
It was no Use. The mind of a daughter of Montmartre
could not comprehend the unreasonable viewpoint of an
artist who admired beautiful things and yet would not
have people look on beauty, but Trilby did most of her
thinking with her heart and that told her what she must
do to win Little Billie back. "So I return to the blan-
chisserie," she told them wistfully, standing before them.
a Milo in black sateen blouse and broken shoes, "I wash
the artist's shirts, I take off the skin from my fingers and
1 watch the feet of those who pass by our basement, for
surely he will come back now."
The lime blossoms fell, the old men on the quays turned
over another dingy page, and a good deal of water pas
thru the taps in Trilby's laundry, and suddenly Little
Billie was back from England. "I love her." he told
Taffy and the Laird, as tho expecting their surprise at
his amazing discovery, "I love her because she's what she
The cruel and rapacious Svengali decides to make a fortune out of the poor little
laundress. He bids her follow him
(Thirty-one)
CLASSIC
is — if she was any different she wouldn't be Trilby. It's
queer, as soon as people love someone they always set to
work trying to change them over. That's what I told
mother "
Taffy had a vision of the haughty Lady Eleanor with her
high-roofed ancestral nose and basilisk eye. "You — told
your mother you loved Trilby?" he asked, almost in awe.
"I told her I was going to marry her," Little Billie said
a trifle grimly. After all, he was related to the high-roofed
ancestral nose.
And now the gendarme, leaning against the white-
washed wall of the Passage des Abbesses, saw the in-
gredients of other merry little feasts carried thru the dark
old archway, and heard queer, untuneful singing, peals
of laughter and gay voices from the studio, and some-
times Trilby and Little Billie passed him hand in hand
on the way to sit in a top heaven seat at the opera with a
look on their faces that even a gendarme could under-
stand. Allorus! What a thing to be young and in love. . . .
The gendarme
did not like the
English lady and
the gentleman in
the shovel hat
who stopped to
ask him the wav
to Little Billie's
studio one eve-
ning— ma foi, but
Madame looked
as tho she were
smelling some-
thing unpleasant
with that nose of
hers. And the
fussy little man
with her a d -
dressed him as
"Jen Dam" and
seemed to think
that the strange
noises he was
making were
French.
"It is the girl
we must talk to,"
the lady said as
they moved
away, "William
must not guess
we are here "
The clocks be-
low boomed mid-
night, from the
top of the Eiffel
Tower a red eye
winked and the
busses roared by
in the Boulevard
below, bringing
loads of tourists
to the B a 1
Tabarin, hopeful
of looking upon
some evil. Then
the gendarme say the couple returning, and with them
came the girl of the gay laughter, but now she was not
laughing and the bunch of roses was blighted with tears.
"I knew that we could make you see it was quite im-
possible," the lady with the nose was saying — what a
horrible language, that English ! A language to say harsh
things in, to scold with, but never, never to make love in
— "and you. promise not to see him again?"
rhe moment of Trilby's greatest triumph was the moment that
preceded her collapse. Svengali had won — and lost
The light from a lantern swinging in the wind fell
across the girl's face giving it — the gendarme thought —
the look of one of the marble saints in the Sacre Cceur.
A strange place for saints, Montmartre ! "I promise,"
Trilby said, taking the words one by one from her heart,
"I promise — never to see — him again "
It is no doubt the human life they have looked down
upon so long that is responsible for the expressions on
the faces of the gargoyles of Notre Dame. From their
high perch above the city, man must seem an amusing and
pitiful and altogether futile sort of insect rushing madly
about and imagining his insect sorrows and desires are
important. Little Billie told himself this and many other
scornful bitter things in the weeks that followed when he
wandered about Paris searching for a lost dark head in a
world full of women whom he hated because they were
not Trilby. He sought her in the parks, in the cafes
and theaters, he hunted for her among the laundries and
the shops and all the studios of the Quarter. There were
many women.
slim hipped, lur-
ing eyed, women
with little white
hands and pretty
lips like painted
flowers, scarlet-
haired hussies .of
the varieties,
languid models,
pert shop girls
with impossible
coiffures, de-
mi - mondaines,
apache girl, midi-
nettes. but Trilby
had vanished
without a trace.
She had always
been secretive
about her home
life : someone said
there had been a
small brother
whom she had
cared for, some-
one else said he
had died. . . .
"I'm getting
stale," Taffy
growled, care-
fully avoiding
Little Billie's
haggard look,
"I've painted
sidewalk cafes
and flower ven-
dors and children
rolling hoops in
the T u i 1 e r i e s
Gardens until my
brushes are all
gummed up with
sweetness. Let's
go traveling and
paint pictures
with tobacco and gin and blood in 'em."
As a cure for love-sickness, Australia may be recom-
mended. Of course there were scars left in Little Billie's
heart, and sometimes when the velvety dark was disturbed
by a woman's voice crooning unevenly across the veldt,
or when the Southern Cross was a blue blaze on the
horizon, the scars throbbed a little, and Billie would say,
(Continued on page 80)
(Thirty-two)
xraph
Impressions
By
LOUISE FAZENDA
These two pictures and the "Impressions" below attest the extraordinary
versatility of the gifted Miss Fazenda, who is better known as a comedienne
BARBARA LA MARR
The flame of a black candle.
Chinchilla.
Unknown ladies at tombs.
Orchids.
CLAIRE WINDSOR
Blue corn-flowers in a wheatfield.
Rhinestones.
A crystal vase.
A swan on a clear lake.
ENID BENNETT
Priscilla, playing with dolls.
Rainbows.
A tremulous child.
Titania.
CULLEN LANDIS
Civil War daguerreotypes.
Agate.
A boy sobbing in an empty church.
Rosemary for remembrance.
FLORENCE VIDOR
Apple blossoms in the breeze.
Rose-point lace.
Breath of jasmine.
Reeds, and a quiet pool.
MARY CARR
A lamp in a window,
Old bibles.
Paisley.
Frost on pink r
BABY PEGGY
A robin.
Kewpies.
Soap-bubbles.
Buttercups.
LON CHANEY
A shadow without a presence.
Dwarf pines.
A scream in the dark.
Fog.
The San Francisco water-front.
ANNA Q. NILSSON
A woman in sable with wolfhound-.
Sunlight on frozen green water.
A jewel-handled whip.
Boadicea. Queen of Britain.
WANDA HAWLEY
Peach melbas.
Sorority dances.
Light blue ruffled parasol.-.
Daisy chains at Yassar.
(Thirty-three)
"The Light, Bright, Lissom Mae
Mae Murray poses for Edwin Bower Hesser
(Thirty-four)
.
The Genius
of Gesture
•An Observation
by
FAITH SERVICE
Y( >l' dont quite know whether
he is true or not ... or
whether you might not, per-
haps, have made him up, invented
him in a moment of mad imagery,
read about him, caught him in a
chord, immediately lost. . . .
A face pale and perfect ... a
Burgandy colored dressing-gown
. . . black hair . . . significant
hands ... a Byronic collar ... a
strong resemblance to the pictures
of the poet Byron . . . this is
Joseph Schildkraut.
A room lined on all four walls,
from floor to ceiling with books,
chosen books, loved books and read,
books that hold you, each by a voice
of its own, this is his background.
He is a romantic recluse. He
walks abroad as the Chevalier in
"Orphans of the Storm," as Lil-
iom on the stage and as Peer
Gynt, but Joseph Schildkraut re-
mains within the four book-lined ^
walls, withdrawn.
He is a genius of gesture.
Ever since he was ten years
old and read the Decameron and
Photographs by Nickolas Muray
Joseph Schildkraut has given us the Chevalier in
"Orphans of the Storm" on the screen, and the
deathless Liliom on the stage. He has now
been signed for the Goldwyn picture, "The Master
of Man," from Hall Caine's famous story
studied the violin while he dreamed of being an actor,
up to the present day when he is twenty-seven and read-
ing Poe, living his secluded life, young Schildkraut is
a genius of gesture.
As to his sincerity, that is a matter of opinion. One
may gesture sincerely. . . .
Have you ever read books of a haunting strangem
Seen plays wherein the human and the superhuman, the
mystic and the matter-of-fact mingled and were lo>-t ?
Caught and then lost again strains of music that repelled
the Everyday with fantastic fingertips?- Products of
perversity neither beautiful nor bad?
And then have you ever thought, "But people are not
like this. The world is not like this. Life is not like
this. I have strayed into a nether place."
But Joseph Schildkraut is "like thi>." This is the
mood he evokes for you. This is the atmosphere he
gives to you.
If Baudelaire had flung back his head and shattered
his malodorous verses with shouts of Homeric laughter.
If Poe had played ball with a child and written a
(Continued on path- 77
'Thirty- five)
Hollywood Homes
No. XI
Above is the exteri-
or of Wallace Reid's
home. The architect
was Frank Meline.
It was decorated by
Gomes and Glendale
of California. Here
it was that Wallie
played the genial
host to his so many
friends . . . open
house for all good
fellows. . . .
Left is Mrs. Wallace
Reid with her son
and the little girl
she adopted just
before her husband
died. Here too, she
"carries on" with a
brave heart and fine
courage, a gallant
crusader against the
evil thing that cost
Wallace Reid his life
(Thirty-six j
Right is a corner
of the lawn with
its familiar swim-
ming pool
Below is the
music -room with
its mute testi-
mony to a for-
mer gaiety
Exclusive
views
of the home
of the late
Wallace Reid
-
Above i s
the e x -
tremely in-
ter esting
s t a i r way
with its
classic
severity and
c h arming
pla stered
walls
Left is the
dining-
room in
smooth
brown oak
and tinted
walls. Note
the graceful
lighting
(Thirty-seven)
Another
Mary
Mary Pickford piles her golden glory
on top of her head and essays the role
of an alluring and passionately emo-
tional woman
These are scenes from
"Rosita," soon — but not
soon enough — to be re-
leased. It is based on the
picturesque adventures of
"Don Caesar de Bazan."
The great German direc-
tor, Lubitsch, is control-
ling the destinies of this
picture. We hope you will
like Mary in this new kind
of role. After all, she is
a woman, a gorgeous,
glorious, golden woman
(Thirty-eight)
The Girl
Who Couldn't
Stop Crying
By
HARRY CARR
THIS really was a terrible
d i 1 e in m a , Renee Adorer
couldn't stop crying, It was.
one of the most alarming little epi-
sodes I over saw in a motion pic-
ture studio.
Renee had been parting from her
old father.
It seems that unwillingly she had
killed a man. Tho he was a villain
with a leer, the Northwest Mounted
Police were after her and she had
to fly.
I saw her when she said good-
bye to her father. She clung to
him convulsively. The tears were
streaming down her cheeks. She
looked very little and very pitiful,
and the tears were very, very real.
With one last kiss and a sob, she
broke away, and rushed — out of the
camera area.
Reginald Barker, the director, fol-
lowed to congratulate her. To hijs
surprise, she was still crying.
"What's the matter?" he asked in
dismay. His only answer was a
fresh outburst of sobbing.
Mr. Barker looked around with
belligerent inquiry. Then the situa-
tion dawned upon him. The little
French girl had got her tears started
and they wouldn't stop. He looked
around hopelessly at Pat O'Malley
who was costumed in scarlet, uni-
form of the Northwest Police. Pat
rose gallantly to the rescue.
He picked Renee up bodily and sat her on the stum])
of a tree.. Then, cavorting around like a Sennett comedian,
he pretended to take a kodak picture of her tears.
She tried to smile but it was such a drippy, woebegone
little smile — and it was washed away in another outburst.
Then the director tried again. "Come on. Renee. My
God, you know it's just a play. Come on, shake yourself
out of it." With that he took her by both arms and gave
her two or three little shakes.
Her only answer was to lean on his shoulder and begin
to cry again.
Barker looked around at the orchestra that every
director keeps on the sets these days. "Quick : some
jazz," he said.
The orchestra leader tried, "Carolina in the Morning"
and "Mr. Gallagher and Mr. Sheehan."
Renee slid down from the stump and made them a little
tear-stained bow of acknowledgment: but the case was
quite hopeless.
"Sank you," she said in a little damp. weak, woe-
maturated voice. Then she picked up her make-up box
PluitORraph by Witzcl. I. \
Renee Adoree is not really new to the screen; but it was not until
Reginald Barker happened to select her for an emotional pat, in a big
outdoor story that she really found herself. He thinks she will become
one of the finest emotional actresses ever seen on the screen
and walked slowly away to her dressing-room, leaving
the director and the studio staff looking like convicted
murderers. The last I saw of her, her shoulders were
still shaking with the convulsions of weeping.
Renee is like the colored lady. When she mourns she
mourns.
Reginald Barker who has found a lot of them thinks
she is the great "find" of the year.
She is not really new to the screen. She lias been
dubbing around in small parts for year-. It was not
until this winter when Mr. Barker happened to select
her for an emotional part in a big outdoor st »ry that she
really found herself. Mr. Barker thinks she is due to
become one of the finest emotional actresses e\ er seen
on the screen.
She is a little French girl, not fatally beautif'll but
piquant and charming. She has been on the stage all
her life. As a child she was an acrobatic dancer in France
and was educated in England by a tutor while still rilling
stage engagements in London.
( Continued on page
(Thirty-nine)
Photograph by Woodbury, L. A
Beside the Sea
"Cjome on in —
The water s fine!
Above, Tommy Meighan and Leatrice Joy on location in
Florida take a swim between shots. Below, Alice Lake
struggles with a deep-sea monster
Top of the page, Hazel
Keener (in Maurice Tour-
neur's "The Brass Bot-
tle") doesn't care how hot
it gets. Above, Elaine
Hammerstein
(Forty)
Stars of the
Silver Sheet
Shine
on the
Silver Sand
Above, Viola
Dana acquires
a coat of tan.
Below, George
Walsh, that
r e m a rkable
athlete, does
his setting-up
exercises on
the beach
Above, Harold
Lloyd and
Ruth Roland
in a friendly
pose. Below,
Kathleen Key
and cape, from
G o 1 d w y n
pictures
(Forty-one)
Left is May Alli-
son who returns
to the screen in
"The Sign"
Right is Leatrice
Joy who is break-
ing — no. — we
mean making
"The Ten Com-
mandments." Be-
1 o w is Mary
Thurman who is
playing in the
East in "Zaza"
Photograph by Rice
Summer Girls
Photograph hj
Melhourne Spurr
(Forty-two)
Anna Q. Nilsson as the picturesque Cherry Malotte and Milton
Sills as Roy Glennister in "The Spoilers"
The Celluloid Critic
Laurence Reid Reviews the Latest Picture Plays
A SUCCESSFUL picture is Tike a successful play. If
it has reached the high places thru some outstand-
ing character or situation — and if it surges for-
ward with a compact line of action, thru which its scenes
are neatly dovetailed, it is certain to he favorably re-
ceived and to establish itself in the memory as a picture
with a personality. Such documents are sure to be
revived.
It is fitting and proper that Goldwyn should give a new
treatment to Rex Beach's best yarn, "The Spoilers." In
the first place it had earned a new picturization thru its
eloquent account of life in the raw — a background which
may only be expressed well on the screen. But what
made "The Spoilers" so memorable was its smashing
fight in the climax between Tom Santschi and William
Farnum.
It has been said that this gory combat could never be
equalled, much less duplicated. The very thought of it
has inspired its present spon-
sors in general, and Director
Lambert Hillyer in particu-
lar, to create a scene which
would ring down the corri-
dors of Time — which would
eclipse any hand-to-hand con-
flict ever staged before the
searching lens of the camera.
Mr. Reid selects "The Spoilers" as the best
photoplay of this month, and compares the
great Milton Sills-Xoah Beery fight with its
former prototype, the Tom Santschi-lFilliarr.
Farnum brawl
The Santschi-Farnum melee compared to the Sills-Beery
(Milton and Xoah) melee would be like trying to com-
pare two fly-weights in action against Dempsey and
Firpo in another ring. It's a tearing, smashing, slam-
bang bloody battle which takes up easily twenty minutes
— which thrusts two very earnest players in deadly com-
bat with no quarter given or taken from either partic-
ipant.
Of course the fight is the moment which we waited
for. Every scene is a prelude to it. And how they did
build up to it! Here we have the vigorous account of
a Yukon miner, a power up Dawson way, determined to
stand up on his own feet regardless of the efforts of a
group of wily politicians to make capital of the ignorant
community. The net is woven around him. The law
is against him. Every loophole has been carefully em-
broidered so that there appears no possible chance for
escape. And to complicate matters he is in love with a
girl whose guardian is the
crooked judge in collusion
with the disciples of evil —
claim jumpers, in Mr. Beach's
language.
The suspense mounts when
you see Sills grit his teeth to
see the conflict thru to the
finish. Scenes — oh, many of
(Forty-three)
CLASSIC
them — are given up to primitive, primeval battle. There
are introductory scuffles to the main bout. And the
background is as much like the Alaskan country as a
good location man can make it. So let's mark it up as a
smashing, ripping melodrama of the big outdoors —
adapted from a story which was destined for the screen
— a melodrama which rushes with headlong speed
straight to its climax. And what a climax ! Sills and
Beery fairly leap at each other's throats. Tables, chairs,
book-cases are overturned. The actors smash their way
and each other's faces thru doors, windows and parti-
tions— until you feel like crying "Stop it!" It's vivid and
vital, this fight. The attending blowing up of the
mines, the ride of the vigilantes, the
crooked roulette game and the other de
tails are merely incidental to the rip-
tearing punch when Beery takes
the count from Sills' good right
fist — and left.
A good supporting cast
lends competent assistance —
particularly Sam de Grasse,
Barbara Bedford and Robert
Edeson. Wallace MacDonald
allows himself too much latitude
in the mat-
t e r of his
wardrobe.
1 1 suggests
the latest
Kuppen-
heimer a d-
vertisement
instead of
the style of
the late
nineties.
We ad-
vise you to
see this pic-
ture ; you
will respond
to its vital-
ity, pictur-
e squeness
and melo-
dramatic dis-
play.
Oval (above)
Jane Novak
and John
Bowers in
"Divorce."
Above Alfred
Lunt and
Mimi Pal-
meri in "The
Ragged
Edge"
BOOTH
Tarking-
ton's
prize - winning
story, "Alice
Adams," (As-
sociated Ex-
hibitors) has
been ap-
proached with
fine sym-
pathetic ap-
preciation by King Yidor, a director who is at his best in
visualizing the simple humanities. It's a picture not de-
pendent upon dramatic fireworks, but scores easily and
surely because it expresses the simple things in an equally
simple way.
Here is a cross-section of American family life — life
that all of us know.- The protagonist is a wistful, im-
aginative, pathetic, day-dreaming girl who paints vivid
fancies — who thru her pride will keep up appearances
despite the poverty in her home. Her mother is a com-
plaining woman — one who continually nags her husband
because he hasn't taken the family to the heights. Her
father is meek and mild and naturally uncomplaining.
But he is incapable of making both ends meet. There is
a brother who is allowed to become a wastrel simply be-
cause his parents are more or less uninterested in him.
And around this quartette moves a drama which touches
tragic chords — which paints vividly and accurately — and
at times, poignantly, discordant family life.
The film treatment is splendid. It carries the quaint
humor tinctured with pathetic glimpses of the novel. It
retains all the humanities which Tarkington incorporated.
The big vital note in the book — when Alice entertains
her admirer at dinner and he' sees thru her sham, is deftly
treated — with a suggestion of real subtlety.
These characters are made real by the di-
rector, Rqvvland V. Lee — and the play-
ers who fit them have seemingly
stepped from the pages of the
book. What a memorable por-
trayal Florence Vidor gives as
the girl whose dreams are shat-
tered ! How she humanizes the
figure who was forced to swal-
low' her pride — and Claude Gil-
lingwater as the father presents a
portrait of cameo fineness.
The intel-
l i g cuts i a
will thoroly
enjoy this
p i c t u re —
and if w e
are not mis-
t a ke n. so
will t h e
b o u rgcoisc.
It's a very
h u m a n
document,
treated in a
very human
w ay. Oh,
but that we
might have
more like
it!
rl^^TVs
Left, Flor-
ence Vidor
and Monte
Blue in
''Main
Street."
Above,
Douglas
MacLean in
"A Man of
Action"
ANOTHER
Tarking-
L ton tale
— in an entirely
different vein
— the vein
w h i c h many
declare to be
his best — is
his "Penrod
and Sam'
(First Na-
tion a 1 ) . X o
author can ap-
proach the
gentleman from Indiana in the expression of irrepressible
boyhood. All the whimsy and fancy of Youth is accu-
rately drawn. Youth with its imitative faculties — Youth
with its joyful pranks and heartaches is admirably
painted.
As a picture, it soars with the same comic spirit as the
book — the director seeing to it that none of the Tar-
kington sparks are missing. Consequently we discover the
effervescent high jinks of the inseparable youngsters—
who put on a circus and an "inishiashun" — who are
brought upon the "carpet" before their respective fathers
and severely reprimanded — and who are real boys as
(Forty-four)
j>
CLASSIC
played bj Ben Alexander (Ben is growing up you
wouldn't recognize him as the enfant terrible oi 'n<
of the World") :i> Penrod and Joe Butterworth at
Sam. \\ liat kiiU .In the wide world over is depicted
here with a tragic comic quality.
\- a story it i- sketchy, bul thai i- t<> be expected.
Yet no youngster, vital .md real, ever did things bul ulut
were of an episodic character, Exceptionally sympa
thetic treatmenl has been accorded the book by the <li
rector, William Beaudine, who demonstrates the fad
thai he hasn't forgotten his own youth, n< itten
that Tarkington cannot be improved upon. Humor and
pa thos are
finely blend
ed — which
releases a
picture of
W a r m . h u -
m an a 1 1 r i -
buti
It's a real
slice of child-
hood, never
exaggerated,
but ringing
true with
sentiment,
spirit, and
charm
Among its
scenes the
spectator will
find on e —
and possibly
many — which
will strike
home. The
brightest mo-
ment to u< is
when Father
S c h o f i e 1 d
asks his
daughter's
cub admirer
the hour —
and the lat-
ter interprets
the inquiry
by beating a
hasty retreat.
Below. Flor-
ence Vidor
and Claude
Gillingwater
in "Alice
Adams"
Above, Cullen
Landis in "The
Fog." Below,
The Three Wise
Fools, Claude Gil-
lingwater, Wil-
liam H. Crane
and Alec B .
Francis
we have scenes which ire duplicated pan the
part) scenes I ha been foil
fully, inn visualizing it shows up 1
It is in. ire "i .1 psychology al study than i
ical at tii m Naturally man'.
drawn I'.ut the sordid background the drab common
placi >phei Praii tained Still it •
bringing forth Lewis' latirical shafts and il
down in establishing the analysi mug
nes-,. it shouldn't have been
author's pen pictures are incapable of being reprodu
[*he types, however, are well chosen " ertainlj Flor-
Vidor
the
true ]'-•
the
cha r.-u ■■
the city ^irl
who would
m a k '• ■
t he nir
n i t y . T h e
picture, like
the novel .
hits its rnosl
accurate note
w hen it re-
veals these
smug villag-
ers as un-
willing to
adapt them-
selves to any
i d e a s and
ideals except
their own.
Monte Blue
suggests the
physician-
husband with
adequate
faith fulness.
The most
genuine vil-
lager is
played by
Harry Myers
as the local
druggist.
Above, Mrs. Wal-
1 a c e Reid and
Bessie Love in
"Human Wreck-
age," a profound-
1 y moving
picture. Below,
Penrod and Sam
B
RING-
I N G
•'Main
Street" to
the screen
was some-
thing of a
task for
Warner
Brothers.
since Sinclair Lewis' best-seller is based upon words in-
stead of pictures. Taking a widely read book which has
established its prejudices as well as its champions, it
stands to reason that no matter how the sponsors treated
the subject they were certain to find themselves in a jam.
Here is a long-winded book which is often dull — which
is unrelieved by any balancing note of humor, and yet
the director has done a creditable job by it — even if it
was impossible for him to save it from becoming tedious
in its concluding reels.
The fault with Lewis (and of course the director must
be held responsible) is his weakness for repetition. So
(Forty-five)
TRY IXC.
tO fol-
low the
stage version
too closely
has placed
"Three V
I" O O 1 s '
i Gold w\ n )
just out of
reach of the
coveted bull's-eye. The fault of this picture is too much
continuity — too much crowded incident — with every de-
tail clearly outlined in advance so that it preclude- any
value of suspense. At times it becomes weary spe-
cially whenever the three cronies are together. By their
actions one would imagine them a trio of silly, old g
sips who might be engaged in playing dominoes S< they
adopt their erstwhile sweetheart's daughter who inci-
dentally carries all the conflict — since she is compelled to
keep a deep secret, that her father is an escaped criminal.
Her meetings with him place the detectives watching the
I Continued mi page
Clemenceau
"The Tiger"
of France
Turns
Scenarist
Ex - premier Clem-
enceau is taking an
active interest in the
filming of his book.
He directs and of-
fers suggestions as
his play is produced.
Left, Tchang- Y cov-
ers his wife, Si-
Tchun, with flowers.
Below is the Em-
peror's Messenger.
We hope that this
interesting picture
will be released over
here
The Veil of Happiness
Photographs by Kadel and Herbert
In this picture play real Chinese men and women
are seen. They were recruited from the Chinese
students studying in Paris. The play is about a
rich Chinese nobleman who has a beautiful wife
and a good friend by the name of Ton-Fon
Tchang. The husband is blind but is very happy
with his wife and children. He suddenly re-
covers his sight and begins to learn that his
wife's lover is Ton-Fon Tchang. Rather than
see this unhappiness he puts his eyes out and
becomes blind again. . . .
(Forty-six)
_J
Classic's
Monthly
Department
of the
Theater
Below, Ruth
Page in her odd
and interesting
dance for "The
Music Box
Revue"
The
Hardy
PerenniaN
of the
Season
The
Photographer
Takes the
k Stage
Below, Olive
Vaughn, one of
the beauties from
George White's
newest and love-
liest "Scandals"
Above, Helen
Shipman and Nat
Nazarro in "The
Passing Show of
1923" going
strong at the
Winter Garden
Photograph by
Victor George
Photograph hy
White Studios
'Forty-seven)
Photographs (above and below) by White Studios
Photograph by Apeda
Above, Marion
Kerby, as she is,
a charming
young woman
and an actress of
distinction and
skill
Above, Queenie Smith (formerly ballerina
at the Metropolitan Opera House) with
Joseph Lertora in the Russian ensemble
from "Helen Of Troy, New York."
Queenie runs away with the show. It is by
those masters of satire, Messrs. Kauffman
and Connelley, who prove their further
ability by writing a musical comedy. Below,
Katherine Bolton, Louis Mann, and George
Sidney, in a scene from "Give and Take"
Photo by Apeda
Above, Marion
Kerby as Nana,
the absinthe-
crazed victim
who beats her
young siste"r in
"7th Heaven"
(Forty-eight)
Plays like "Merton of the Movies," "7th
Heaven," "Rain," "The Fool," "Give and
Take," "The Old Soak," "The Music Box
Revue," and several others, ran all last
winter, all this summer, and are start-
ing in the fall apparently as popular as
ever. "Kiki" ran six hundred nights, and
we have an idea some of these will equal it.
Below, Florence Nash and Glenn Hunter
in "Merton of the Movies"
Right, Sara
Sothe rn,
who plays
so pathet-
ically the
little lame
girl in
C hanning
Pollock's
"The Fool,"
another
> 1 a y that
ills its
theater
nightly
l'hntn»r.ip'- ' I
James Barton in "Dew Drop In," which would drop
out without him. This is a comparatively new one
Photograph by
Albin
(Forty-nine)
Photograph by Mutay
picture. Gloria Swanson, H. B.
Warner; Lucille La Verne,
Ferdinand Gottschalk, Riley
Hatch, and twenty-five extras
are working there.
Madge Kennedy, a twinkling
light of both stage and screen,
will open in September in a new
musical comedy called "Poppy."
Dorothy Donnelly is responsible
for the book.
Flashes From the
Of the Stage
Caught by
OUT on a picturesque estate on Long Island at the head waters of
Little Neck Bay where, ninety-five years ago, small craft used to
put in for supplies from the general store, a little bit of Southern
France has been translated for scenes in "Zaza," Allan Dwan's production
of the famous French play. The old general store, which was built in
1828, has been transformed into the quaintest French home imaginable.
It is Zaza's love nest. The grist mill, where the farmers used to come
in the- early days to get their grain ground and a demijohn of rum, has
been made into a thatched building by the art department, and the old
barn which stood next to the store has been fixed over to represent a
typical French barn. All of these buildings stand on the edge of a
beautiful lake. Director Dwan expects to spend a week on this location
filming scenes that are expected to be among the loveliest shown in the
Upper left is Ben Lyon,
one of the principals in
the stage success, "Mary
The Third." Goldwyn has
signed him for pictures.
Right is Ernest Truex in
a scene from "Six Cylinder
Love" that Pox is making
as a picture. Lower left,
is Lew Cody. If Mr. Cody
is trying to live down the
title, "Male Vampire," we
would respectfully suggest
that this isn't a particular-
ly good way to do it
Richard Barthelmess has completed "The Fighting Blade," and
has started on another picture under John S. Robertson. It is a
modern story, the title of which has not yet been given out, and it
will be released before "The Fighting Blade." as they thought it wise
not to have two costume pictures follow each other.
I
A. H. Woods, by arrangement with
Sam Harris, will present Mary Ryan in
"Red Light Annie," a new play by Sam
Forrest and Norman Houston, at the
Morosco Theater, on August 20th.
Hot weather means nothing in Gen-
evieve Tobin's young life. Genevieve
rushes blithely from her job at the Wil-
liam Fox Studios, where she is creating
the leading feminine role in "No Mother
to Guide Her." to the theater where she
is featured in Broadway's big hit, "Polly
Preferred." She created the role of
Patricia O'Day in the stage version of
"Little Old New York."
Thomas Meighan will travel from
New York to California and back in
the production of his next three Para-
mount pictures. As soon as he has com-
(Fifty)
Eastern Stars
On the Screen
the Editor
pleted Peter B Kyne's story, "Homeward Bound," which ia
iu)\v being madeal New London, Conn., Mr. Meighan, accom-
panied by Mrs. Meighan, will go to the Lasky studio in Holly-
wood to film George \de"s original storj tentatively titled
"All Must Marry." Mr. Meighai) will pick up George Ade
in Chicago on the wa) West, Following the production oi
the Ade story, Mr. Meighan will return East to Kennebunk-
port, Mo., the summer home of Booth Tarkington, where he
will work with Mr. Tarkington and a director and scenario
writer on an original story which the famous novelist and
playwright has just written expressly for Mr. Meighan.
Ernest Truex. creating the leading role in Elmer Clifton'
production of "Six Cylinder Love"
at the Fox Xew York Studios that
he played on Broadway and the
road for two years, deserves to go
down in history, for immortalizing
the moustache ! Truex, who ad-
mits to being five feet and a bit
more in height, vows he grew a
moustache so he could prove his
age and take part in conversations
Photograph by Russell Ball
without being told "children should be
seen and not ..." oh, you know the
rest.
The schedule of the Theatre Guild for
the coming season was announced yes-
terday. The Garrick will open late in
September with "Windows," by John
Galsworthy, described by him as a "com-
edy for idealists and others." Martha-
Bryan Allen, now in "The Devil's Dis-
ciple." is the only member of the cast yet
chosen. Following "Windows" will come "The Failures." an
adaptation from "Les Rates," a tragedy by H. R. Lenormand. Jacob
Ben Ami will have the lead. Other productions will include Molnar's
comedy "The Guardsman." Shaw's "C';esar and Cleopatra": "Masse
( Continued on page 88)
Photograph by Edward Thayer Monroe
Above is a miniature Gilda Grey.
Right is a shot from "Homeward
Bound," Tommy Meighan's picture.
Upper right is Dorothy Gish with her
husband, James Rennie. The soldier
is Lawrence Cecil who plays the Ser-
geant in "The Devil's Disciple." He
was a Captain in the English Army
during the World War and has a
brilliant war record. Theatricals are
doubtless rather tame to him
( Fifty-one)
Classic Considers
ZELDA SEARS
Because she wanted to be a playwright and that's what she is. She
started her career as a reporter on the old Chicago Herald and came to
New York in the chorus of an Erlanger musical comedy. She was secre-
tary to the late Clyde Fitch and created all his comedy roles on the stage
for twelve years. Her first complete play was "Lady Billy" for Mitzi.
She was co-author of Madge Kennedy's "Cornered," and sole author of
the popular "The Clinging Vine," for Peggy Wood
DOUGLAS FAIRBANKS
For the very good reason that he has
more courage and greater vision than any-
one else in the moving picture industry.
Because he is consistently and without
self-consciousness trying to make "bigger
and better pictures," and is succeeding.
Because he has done much to dignify his
profession. Because he manages to in-
struct, edify and entertain all in one picture.
And last, because he won the sweetheart
of the world for his wife
Photograph by
Edward Thayer Monroe
WALTER DAMROSCH
Because he has done so much
to popularize music in New York
City, without ever once lower-
ing the high standard of taste
set by one of our finest sym-
phony orchestras. Because he
condenses operas, and plays se-
lections from them, and makes
them comprehensible to children
every Saturday morning during
the winter. Because he is the
conductor of the New York
Symphony Orchestra,, which you
can hear for a quarter — if you'll
sit up under the roof of Carnegie
Hall
(Fifty-tv/o)
Greed
Written in Short Story Form by Patricia Doyle
T
'R1XA took the slip of paper in her hand
without a word. She was beyond speech.
Maria's senseless yelling had subsided.
Marcus turned on his heel in disgust. McTeague
breathed in an immense sigh? like a huge walrus
coining up for air. Papa Sieppe stood dum-
founded and Mamma Sieppe began to cry softly.
Nobody said a word. The slip of paper was a
check for five thousand dollars.
That was almost more money than Trina Sieppe could
think of all at once, certain-
ly more than McTeague
could take in. Marcus
Schouler was, however,
painfully aware of the im-
mensity of the sum. Trina
had been engaged to him
and in a fit of maudlin
sympathy for his pal
McTeague. he had freely
transferred her to his
awkward attentions. At
first Trina had been afraid
of his great bulk and re-
coiled timidly from his
clumsy love - making, but
there was in her now un-
deniable response to his
aggressive masculinity.
albeit she admitted it even
to herself a little shame-
facedly. She remembered
GREED
Fictionized by permission from Goldwyn, from
the screen version of Frank Xorris' novel, "Mc-
Teague." Adaptation and direction by Eric von
Stroheim. The cast:
McTeague Gibson Gowland
Trina Zasu Pitts
Marcus Schouler Jean Hersholt
Selina Joan Standing
Zerkow Cesare Gravina
Maria Macapa Dale Fuller
Old Grannis Frank Hayes
Miss Baker Fanny Midgeley
Mr." Sieppe Chester Ccmklin
Mrs. Sieppe Sylvia Ashton
The Twins Oscar and Otto Gottel
August Austin Jewel
The lottery man Lou Poff
Heise, the harness maker Hughie Mack
Traveling dentist Erich von Ritzau
McTeague's Father James Marcus
the first time she had seen McTeague. It was in
his office. She and Marcus and all the Sieppes
had gone on a picnic and the party had gotten
rough. Trina fell out of a swing and broke her
tooth. But Marcus had comforted her by telling
her his friend McTeague who was a dentist — of
sorts, would fix it up for her.
So she had gone the next day to McTeague's
office. Maria was there begging for junk, which
lowly performance she regarded as an entirely legitimate
business razy in the
head!" McTeague had
in his gruff voice, illustrat-
ing the fact by tapping his
huge head with a thick
forefinger and pointing at
Maria. Trina nod
assent, but Maria only
Stole a handful of gold
fillings behind Mel
back and went to Ztrkou
with them.
McTeague'- stolidity had
deserted him. He trembled
before this slim girl with
her ropes of fine black hair
and her little tapering
hands. He thought oi a
thousand things lie could
do to make her keep on
coming to his office. The
last time she came he had
(Fifty-three)
In a fit of maudlin sympathy for his pal, McTeague, Marcus had
surrendered his girl to the dentist's awkward love-making. Below:
Trina sends McTeague the mammoth gold tooth he had so long
coveted for his office
CLASSIC
McTeague took her fingers play-
fully between his strong white teeth.
"Oh, you hurt," she cried, but he
only laughed.
In a much poorer room on a much
poorer street Maria and Zerkow, the
junk dealer, started their miserable
life together. "And so my father
buried his plate," Maria was saying,
rolling her big vacant eyes. "Four
dozen gold dishes, all sizes, six
platters, all sizes, two great big soup
tureens, eighteen "
"But where, merciful God,
where?" Zerkow interrupted wring-
ing his dirty hands. "Where did
your father hide all this gold?"
"I cant seem to remember," Maria
said without expression. Her hus-
band seemed about to choke her.
"But I'll think hard, Zerkow," she
added hastily. "Give me but a little
time and Maria will find the place for
you."
He had to be content with that
altho it was only one of many times
this identical conversation had taken
place. Zerkow dreamed of that
mysterious buried gold at night. He
thought about it by day. It was for
that he had married the half-wit
Maria and lived on the price of the
gold fillings she managed to steal
from McTeague.
As for the McTeagues, they pros-
pered well enough. Trina began to
save money to add to the five thou-
sand. It got to be a regular mania,
with her. She put it in a little trunk
she kept under the bed, the key of
given her ether — to save her from pain. When she
lay back in the chair unconscious, he kissed her
moist soft mouth over and over again, hungry
devouring kisses. She came to, shivering, but not
with fear.
They were engaged after that and now they
were to be married in a few days. McTeague's
practice was well enough, but with five thousand
dollars they had nothing much to worry about.
Trina took the money to her Uncle, for whose toy
shop she used to paint little wooden dolls, and he
deposited it in a bank for her. She couldn't bear
to spend it, but she did go out and buy a mammoth
gold tooth that McTeague had long coveted for
his office. He was touched and thanked her with
many bearlike hugs and rude kisses. He never
had been particularly articulate and now he was
reduced to a gauche demonstrativeness that alter-
nately thrilled and disgusted Trina.
After they were married, McTeague suggested
that they take better lodgings.
"On your pay, we cant afford it," was Trina's
brief rejoinder.
"But your five thousand dollars !" muttered
McTeague considerably surprised.
"Stays where it is," snapped Trina. Then
quickly seeing the offended look in her husband's
dull eyes, "Love your Trina?"
"Yes," he answered and put his arms around her.
"Love her big?" murmured the girl running her
slim fingers thru his bushy hair.
-four)
(Fifty-four)
CLASSIC
which she had alwaj s
witli her. As East
a> fthe couldi ihe
changed it into gold.
When her husband
was si his office, she
would gel it out and
play with it lingering-
iy, lovingly, gloatingly.
At least halt of every-
thing he gave her she
put away in the trunk.
She bought cheaper
meat, cheaper clothes.
She went hungry her-
self ami skimped her
husband, so that the
glittering pile might
grow.
McTeague k new-
nothing of this. He
was fairly well con-
tent. He was still
under the spell of
Trina's superior re-
finement. He loved
her daintiness, her
great ropes of hair,
the rich vital odor of
it, her little hands
with their little
pointed fingers, which
he loved to bite in
boorish gaiety, altho
she a 1 w a y s com-
plained that he hurt
her.
At the end of three
years McTeague de-
cided they would
move into a little
house, the rent of
which was thirty-five
dollars. Trina almost
screamed. "Thirty-
five dollars ! We
couldn't possiblv
afford it."
"But the five thou-
sand," said McTeague
again. "You pay half
and I'll pay half.
You've been saving a lot of money anyway. We can use
that. There must be at least "
"No, no," cried Trina. "There isn't any. I haven't
any money at all saved. Take a better house. You're
crazy. We ought to take a cheaper place."
"You're getting to be a regular miser," retorted
McTeague angrily. "You're worse than old Zerkow."
And he went away and rented the house anyway.
Then one day he received an official-looking letter from
somebody or other enjoining him from the further prac-
tice of dentistry, because he didn't have a diploma.
McTeague was utterly stunned. "A diploma, a diploma !
What is that, Trina? I've been practising dentistry for
twelve years. Why should I have to have a diploma?"
Trina couldn't tell any more than he could, but her
woman's intuition divined the cause of this catastrophe.
It was Schouler's work of course, Marcus Schouler, who
had never forgiven McTeague for winning, not Trina
exactly, but the five thousand. If he could only have
known
Trina's heart went cold at the news. Would she have
The grind began
Trina shed her
McTeague's idleness had become habitual,
former daintiness and was now a sloven
to give up some of her beloved money' No, 1
Never. Never. Never. The clink to her ears, the glitter
to her eyes, the cold smooth feel to her fingers, meant
more to her now than love or peace or life itself. In
fact, her money was all of those things to her. Only
McTeague still mattered a little. She could understand
old Zerkow now, whom she had always despised before.
He too hoarded gold, but such a little beside her shining
pile! She felt sorry for him now, old Zerkow who had
been fooled by Maria's lack-wit tale of her father's plate,
not a single piece of which ever existed save in her own
muddled mind. Trina would never give up her money,
McTeague slowly abandoned his profession. For days
at a time he sat gloomily in his own dental chair with noth-
ing to do. "We'll be poor together." said Trina. and lead
him to a dingy back hall room. "This is all we can afford."
"Afford, hell !" McTeague sneered. "You and your
five thousand three hundred ! You make me sick."
"My money wont be touched," shrilled Trina.
"Well I wont live in this dump," McTeague snarled, and
bit her fingers.
(Fifty-five)
CLASSIC
"All right," brought out Trina triumphantly, tho she
winced from the pain. "Then pay the rent for this
apartment."
Hut of course he couldn't pay the rent. He had no
money at all. Trina was supporting him, so they sold
their furniture and moved in, and McTeague started to
look for work. The grind began. Trina took to whittling
dolls again for her Uncle's toy shop. She wore gloves
to protect her hands but still, she had become a sloven.
McTeague came home disheartened, night after night.
He didn't know anything but dentistry and nobody would
give him a job. Once he asked Trina for money to buy
beer. She flew into a rage. When he did manage to get
a job, she took all his pay away from him and he sub-
mitted like a docile bear. In spite of their poverty, Trina's
pile in her trunk kept on growing. She got one hundred
and fifty dollars from the sale of their furniture. She lied
cleverly about it to McTeague and spent more sweet stolen
hours, counting and polishing endlessly the hoarded coins.
Maria came over to complain of Zerkow. "He's never
been the same since the child died," she mumbled, in her
hoarse unnatural voice. "He whips me with a long black
whip. God ! How it do hurt ! He says he'll kill me if
I dont tell him where my father's plate is hid. I dont
know where it is. Seems like as if " The woman
broke off shudderingly.
"Don't be scared, Maria," said Trina not unkindly.
"He'll never kill you, because if he does, he'll never find
out where the treasure is. See?"
"Brew me a drop of tea," whined Maria, but Trina
said she had none, and Maria went home where the frantic
Zerkow, his
patience at an
end, awaited
her.
In the morn-
ing Zerkow's
body was
found floating
in the river
and Maria lay
at home, her
head half
severed from
her body.
Trina wept
with fear and
horror. "Two
people dead,"
she thought,
"and all for a
treasure that
never existed
" And she
buried her face
in the golden
heap in her
trunk and was
comforted.
They moved
into Maria
and Zerkow's
rooms, horrible
and filthy tho
they were.
The rent was
almost nothing. McTeague's idleness became habitual.
Trina drove him out of the house every day rain or shine
to look for work. He took to haunting the saloons and
muttering against her. "Miser," he said over and over to
himself. "She's a mean, rotten miser." He sold his beloved
gold tooth for five dollars. Finally he sold His canary
birds that he had loved. Trina demanded the money he
The wedding of Trina Sieppe and McTeague, where they all gorged them-
selves for an hour and a half
got for them but he only said, "Shut up, or I'll bite your
fingers for you. I'm sick of your damn stingy ways."
''You dont love me," said Trina starting to cry.
"No, by G ," shouted the man and left her stand-
ing in Zerkow's mouldy doorway.
Trina locked herself in her room with the grief-assuag-
ing gold. She played with it with her poor mutilated
fingers stained with liquid gilt from the toys. They
glittered like the gold. Unholy glitter.
At eight o'clock McTeague had not come back and
Trina went out to hunt for him. She went back to their
old apartment. She went to his old office. She walked
down to the river front. She wanted him very much.
She had almost made up her mind to give up some of her
precious savings by the time she got home. Once in her
room, she fainted dead away. The lock of her trunk
had been broken and the gold was gone.
In the morning a doctor came. He shook his head over
her infected fingers. "They must be amputated," he
said seriously, "or you will die."
Trina moaned, "Oh, my gold pieces ! I could forgive
him for this — my sore fingers — but not for stealing my
money. I must get it back — my beautiful money "
So three fingers were cut off and Trina found work
scrubbing floors in a kindergarten. She mended the lock
on her trunk, and started another bag of gold. But it was
so slow to grow. She thought longingly of the five thou-
sand dollars until she couldn't stand the strain any longer.
She went to her Uncle and had him cash her check in
twenty-dollar gold pieces. She took the heavy canvas
bag home and untying the cords let the glittering rain
pour down
into her treas-
ure chest. She
took each piece
between her
little teeth. She
held them
against her
cheek. She
spread them
out on her nar-
row bed and
lay down and
slept as tho she
lay in a lover's
arms.
At midnight
McTeague
knocked on the
window. She
awoke with a
start, every
sense alert,
hurriedly cov-
ering up the
gold pieces.
"Let me in."
he barked
hoarsely.
"No."
"I've not
eaten since day
before yester-
day."
"What have
you done with my four hundred and fifty?"
"Spent it, blew it in on drink. Give me a dime — or
something to eat."
"No."
"All right, you dirty skinflint, I'll make you dance
for this."
{Continued on page 92)
(Fifty-six)
.
MISS LIZZIE \K.\ \. a populai German ad
who possesses "the perfect filming face" what-
evei that is centl) arrived at these shores
frum Bremen In private life she is Mrs, Betty Schwartz.
i 'i izzie \"-.t' " "Because," we liKr to be-
she would answer, "Betty Schwa uch an
ugl) name."
-r* + +
S <!>tlc att criticism in the moviti "Do you want
t>. make your mother look like that'" demands the
college professor in "< >nl) 38" to the selfish daughter
He points an accusing finger at a picture on
i. ituc wall. rhe subsequent close up
reveals the picture to be Whistler's
portrait of his mother.
From mi- Mouths
Babes
II V Intcn i<u> Farina
The small yet
adequate dressing-
room was cheer-
fully hung with
black striped ere-
tonne, further
embellished with
generous slices of
pink and green
watei melon.
"Mistol loney-
vale," remarked
the gracious occu-
pant and owner
thereof, "jess you
drape yo' pussinality
in dis yah Maurice
chair whilst 1 camel
Bags de rivishments of
tempus."
We were in the dressing-
room of Clarissa Myrtle
Iphigeuia Hoskins, the two-year-
old coffee Cleopatra, known to a
clamoring multitude as "Farina."' Miss
Hoskins I we cannot bring ourselves to the
free and easy familiarity of her screen name)
was performing mysterious feminine rites to
her countenance with a Tootsie Roll— gilding
the lily, as it were. Ensued the following
conversation :
Us: To what do you attribute your great suc-
cess, Miss Hoskins?
Farina (suddenly dropping the beauty aid and
miffing delicately with sensitive nostrils): Chickum I
Us : Have you anything to say to the millions that
applaud you? Have you no ideals to disclose, no little
phrase of help, or cheer?
Farina (a bit mare positively) : Chickum!
I s: You are young, it is true. Yet already
you have gone far. In the coming years there
is no telling — —
Farina (abruptly) : I am my own best pal.
and, 1 may add, my severest critic. Chickum!
Us: In our humble opinion, and we are not
alone, Miss Hoskins, you are a great artist.
I ell us your dreams, your hopes, your am-
bitions. Unclose a bit of that mystery which makes you
so delightful, so refreshing, so ingenuous and endearing
to us. all. Come on, kid, dont be a crab.
A vagrant zephyr stirred the door of the little apart-
ment It cat ned with it an uinn iful
and disturbing.
"Man. man !'* muttered Mi>^ Ho-.!.
d chickum!" Sliding fron
waddled with quiei dig
the room
4- •:- +
On dtt that a certain prodw i
considering the filming ol
of th<- w.rk- of Juh •
first, obviously, will be "Two Thou-
sand Kliegs l inder the Sea."
T *r T
1 )id you know that —
Charles de Roche's right name
is Charles de Rochefort ?
Gloria Swanson makes the
loveliest mayonnaise dl
Marion Davies 18 helping
Einstein with his new
bonk ?
Constance Talmadge is
closely related to
Norma Talmadge?
Bebe Daniel's right
name is Bebe Daniels ?
Dorothy Dalton never
eats two helpings of
dessert ?
As a mere boy, we
used to play with Dick
Barthelmess
What's more we almost
bought an automobile for
Alice Brady, once. She had
to have one. and she had to
have one right away. And did
we know of a g aPPy
make? Well, little boys and girls.
of course we did, and to help out her
director we called up the — company
and told them rhe glad news. Then we
sat back and rubbed our hands, feeling pretty
darn well satisfied.
Within ten minutes, the car arrived. Mi>>
Brady rushed out to see it. "Is this the car
you told me was such a snappy attair?"
she asked.
"That's the kind," we assured her Sttlili
"our prettiest."
"Heavens!" exclaimed Miss Brady, "it's
terrible ! Take it aw ay."
•{• 4* 4*
Recent Events Thai Have
Made Us Reach poh the
Sodium Bicarbonate
What they did to Sinclair
Lewis' "Main Street." . . . Lewis
receiving fifty thousand dollars
for letting them do it. . . . Louise
Fazenda as the comic servant in
"Main Street." . . . Alice Howell
a> the comic servant in "Wandering Daughter- "...
"Wandering Daughters." .. The trick (ierman
police dog in the Tartar setting of "The Law of the
Lawless." . . .
1 u ^rations by
Courtesy of
Jaiiueline Logan
(Fifty-seven)
BBS
Offl
A Renaissance Romance
The Sixteenth Century Entertains The Twentieth
Photographs by Reiss, Berlin
"Moiuia Vanna" is undoubtedly one of Maurice Maeterlinck's
greatest plays. It has now been interpreted in terms of
the screen by a German film company and will soon be
released in the United States by our own Fox. An interesting
fact about "Monna Vanna" is that it was inspired by and
written for Georgette Le Blanc, Maeterlinck's first wife.
When she divorced him she refused to accept any settlement
from him, taking only this play as justly hers
(Fifty-exght)
I
Paul Wegner, the distinguished actor who played "The Golem,"
is cast as Guido Colonna, who is called upon to sacrifice his
young wife for the starving Pisans. The famous and beautiful'
Lee Parry plays Monna Vanna. A gorgeously picturesque era,
this fifteenth century Italian romance reconstructs for your edi-
fication and delight. We earnestly commend this sort of thing
to your consideration
\
(Fifty-nine)
Lois Wilson and her sister, Con-
stance, who has broken into the
movies. She is leading lady for
Walter Hiers in "Fair Week"
The Hollywood
Transcribed by
IT looks as tho the little girls were going to climb back onto the
throne after all. Some one had an inspiration a while back to
change the screen type. Especially as regards altitude. Tall
girls like Nita Naldi and Aileen Pringle and Katharine McDonald
were thought to be about to rage. But the three sensations of the
Hollywood season have all been tabloid young ladies.
They are Mary Philbin, who knocked a home-run in "Merry Go
Round"; Lucile Rickson who, Marshall Xeilan thinks, is the sei
tion of a dozen seasons and one of the most wonderful prospects
he has ever known ; and Renee Adoree.
Miss Adoree is Tom Moore's wife. She is a little French girl
who has been working as an extra girl for some time, but got a
sudden chance while
Reginald Barker was mak-
ing a Canadian Mounted
Police picture originally
called "The Law Bringers"
but named everything else
at various times since then.
As a little French Canadian
girl who is being brought
back to be punished for
murder by the man who
loved her, she gives one of
the finest performances
that Hollywood has seen
this year and seems to be-
token the start of another
big screen career.
Above:"It's
not the hu-
m i d i t y,"
says Cor-
inne Grif-
fith, "it's
the heat!"
and does
what she
can about
it. Lef t :
Cecil de
Mille di-
recting Ra-
mesis II in
"The Ten
Command-
ments"
George Fitz-
maurice, who
is directing
Pola Negri
in ''The
Cheat,"
showing her
how to pre-
pare the milk
bath which is
part of an
exacting role
They gave a trial per-
formance of her picture the other
night in a little theater in the suburbs.
Everyone was very anxious to see the
young star. At last some one dis-
covered in a loge a girl with her hat
hunched down over her eyes and a pair
of dark glasses. Whereupon the
official nudge was passed. "Ah, the
modest star concealing herself."
After the performance the agitated
and adoring audience followed her in
a body to the street. Whereat the
young lady looked about in mild sur-
prise ; took off her goggles and dis-
closed herself as somebody's mild and
inoffensive stenographer.
There is a dark rumor that lierr
Ernst Lubitsch may go back to tin
Mary Pickford studio as Mary's per-
manent director. His contract with
the Hamilton Company having ex-
pired, he was installed at the Warner
Studio where he was to direct
"Debureau." Something seemed to
have failed to "jell" however, and
Mary is reputed to be negotiating with
him to return.
Lubitsch is unwilling to direct
Mary's next picture, "Dorothy Ver-
non," however. Mary makes no secret
of the fact that she thinks he is the
(Sixty)
Boulevardier Chats
HARRY CARR
most wonderful dircetoi --lie cvci saw [*he onlj trouble, he is a
little ton pepp) t"i the censoi I hose who were present when Mais
lanning to picture "Faust" under his direction, toll me thrilling
stories of how Mar) ami her fond mamma -at absolutely frozen
with horror while Lubitsch described with excitement his version
nt the story in "which Marguerite had a bab) and. as Lubitsch said,
•not- is how >hc does when she strenkles the child. No? Yes
The I ubitsch family are now fascinated with two discoveries.
Lubitsch has discovered American jazz. He goes to all the coon
shows and simplj roars and doubles up with laughter. Mrs
Lubitsch. who is a charm-
ingly pretty German ac-
tres- is excited over
Esquhno pie. Whenever
she mentions going hack to
Germany for a visit, her
husband inquires quizzi-
cally, "but how you could
live now without that
Esquimo pie. yes ?"
» + *
Deep, dark and mysteri-
ous are the visits of
William Randolph Hearst
to the violdwyn Studios,
with which his Cosmopoli-
tan Pictures have lately be-
come amalgamated. With
Miss Marion Davies, the
star ^i his pictures, he stalks solemnly
thru the place. In his wake the other
day came a tall, distinguished looking
gentleman who hail a pad of paper and
pencil. Here and there he would stop
people whom he met and inquire,
"Mas I inquire who you are and what
you do?" And when told by the
trembling one, he would reply vaguely.
"Ah >es," and walk on. Now what
d' y' s'pose that means?
Mabel Normand (would you ever
Suess it?) in the role of "The Extra
irl," her next Mack Sennett
production
Douglas Fairbanks has begun his
"Thief of Bagdad" picture in the
ino>t gorgeous and magnificent set
ever seen in Hollywood. They say it
will he a picture along lines never be-
fore seen on a screen.
Regarding the last minute retire-
ment of Evelyn Brent from the lead-
ing part and the substitution of
Julanne Johnston, the "low down" is
not so sensational, after all. Nobody
believed the official announcement that
Miss Brent was leaving because
Douglas did not make enough pictures
per year. The real reason is said to
he simply that Miss Brent had become
somewhat too heavy for the extremely
svelte lines of the heroine. Xot so
thrilling after all.
Pouglas Fairhanks, Jr., has made his
Above:
George Mel-
ford and one
of the hom-
ing pigeons
he makes use
of in"Salomy
Jane." Right:
Zane Grey,
eel ebrated
novelist,
comes to the
movies.
Paramount is
filming "To
the Last
Man," a
typical Zane
Grey storv
Viola Dana
gives a party
to her friends
on her own
front lawn in
Hollywood.
Note the size
of the friends
(±Uty-one)
CLASSIC
Here is a funny old
picture of Rex Ingram
when he was in the
movies. The others are
Lillian Walker and
Earle Williams
Tom Mix shows an
early American lady
how to be beautiful tho
masculine. His next
picture will be "North
of Hudson Bay." Below
is Tremont Lincoln
Gentze's first birthday
party, to which were
invited all the movie
starlets in Hollywood
triumphant advent into Hollywood to star for the Lasky
Company. Knowing that Douglas, Sr., bitterly resented
the fact of the boy's being taken out of school at thirteen
to be made into an actor, everyone wondered what would
happen at the train when he came in. Douglas, Sr., grace-
fully evaded the difficulty by sending his brother to mingle
with the in-laws of his former wife. Doug, Jr., goes over
to his father's studio to play tennis with Dad every day.
A terrifying rumor creeps out that Hope Hampton
yearns to emote and be Juliet and all such stuff. At
present, she is making "The Gold Diggers" at Warner
Brothers Studio. One of the thrills of "The Gold Diggers"
is to be Louise Fazenda as a society queen. Altho she is
never seen ordinarily except with her hair slicked back
and falling all over something, Louise is in fact a very
pretty girl.
"How do you like being all dressed up?" some one
asked as she came on the set with a low-necked gown.
"Well," considered Louise, "it's all right, but you have
to be so awfully clean. But
anyhow it makes me feel
wicked and expensive."
Let it be strictly under-
stood that turnips are not in
favor in the high places of
Hollywood for the next few
weeks. Elinor Glyn has re-
turned to supervise the di-
rection of "Three Weeks" at
Goldwyns. And Elinor has
a peculiar horror of turnips.
Whether in some previous
existence, she . . . Well,
anyhow, during her last
visit she was the guest of
honor at a Hollywood
soiree. She took one look at
the dinner and staggered out/
To an anxious inquiry, she
said in an outraged voice.
"Turnips ! Turnips ! Fancy
their having turnips for me !"
f..» >■ m
To really "belong" now, you must
have received a message from the
spirit land from Honore Balzac, the
French novelist. His grandniece is in
Hollywood, hovering around the pro-
duction of her revered ancestor's
story, "The Magic Skin," being made
into a picture by the Achievement
Films of Philadelphia. It appears that
Mile. Balzac, who is a thrilling young
lady with onyx eyes, has a line, now
and then, from the spirit world in the
hand-writings of the late Balzac. Ev-
eryone crowds into her dressing-room
when the spirit moves. From his
spirit world, Balzac knows just when
all the assistant directors will get a
job with the megaphone ; when all the
little extra girls are to be starred and
the other secrets.
The big motion picture exposition
which has been in the planning for so
(Continued on page 72)
(Sixty-two)
THE STUDIO
A sketch by R. O. Ward of one of the big spotlights in the Film Guild's Studio
(Sixty-three)
Rankest Treason
Verse and Pictures
By
DOROTHY ROSENCRANS BRIGHTON
Suppose that when a thought con-
fronts Adonis
There is no mantel there 'pon which
to lean.
His little belted back half turned upon
us
And solemn thoughts aracing thru his
bean.
But just supposing this, is rankest
treason
To all traditions — you see what I
mean,
'Twould cause a riot surely, and with
reason,
No man thinks, sans a mantel, on the
screen.
Suppose that when the heroine is
pretty
They show no fancy ball nor bathing
scene.
Not one small glimpse as Eve — ah,
such a pity,
And no flashback as slave or ancient
queen.
But just supposing this, is rankest
treason
To all traditions — none save critics
care
The plot is weakened ; all the old and
seasoned
Know 'tis not how she acts, but how
she's fair.
Suppose that when a fire breaks out,
young cutie
Has gotten her hair braided for the
night.
She doesn't look like such an awful
beauty
And yet no ruffled boudoir cap's in
sight.
But just supposing this, is rankest
treason
To all traditions — this you've surely
learned —
Before she'd be seen capless (what a
reason )
She'd sit right in her bed and be all
burned !
Suppose that when the husband grows
quite weary
And plans to leave his wife — aye — do
her dirt —
She bids him fond farewell in accents
cheery,
Her eyes quite dry, her manner quite
alert.
But just supposing this, is rankest
treason
To all traditions — for when husbands
flirt
There's one thing every movie wife
agrees on :
It's time to rise and wave a Rubens
shirt.
Treason to the movies is
punishable by death for the
first offense; for the second,
a movie a night for fourteen
years. Give as the first!
(Sixty -four t
qAs wonderful for a quick brilliant polish
as Cutex is for smooth cuticle
For years you have known Cutex. You
have blessed it a thousand times when
you have been in such a hurry and you
have just bad to get those neglected nails
shapely and gleaming. You have adored
the little manicure sets. You have
marvelled at the magic of their cake and
powder polishes.
Now, after years of fastidious experi-
ment, Cutex has perfected a wonderful
new Liquid Polish,
as splendid for a
brilliant, lasting
polish as Cutex is
^ for giving soft,
even cuticle.
This brilliant new polish spreads smooth
and thin and gives a lasting rosy lustre.
Even a -week's dishwashing leaves it
gleaming and unbroken
No separate remover is needed.
Just use a touch of the polish itself
and ivipe off each nail
In every particular, this Cutex Liquid
Polish is ideal. It spreads smooth and
thin. It dries almost instantly into such
a lovely gleaming smoothness. It never
leaves ridges or brush marks and it would
never think of cracking or peeling off.
You will be simply delighted with its
dainty rose lustre that lasts for a whole
week. No matter how incessantly you
use your hands, your nails will keep their
smooth unbroken brilliance. Even water
does not dim the lustre
No bother of a separate
polish remover
And finally here is just another new
convenience. You need never have the
bother of a separate remover to take off
the old polish. Just a touch of the polish
itself wiped off while it is still wet will
leave the nail absolutely free of the old
polish and ready for the new application.
Cutex Liquid Polish, just like all the
other Cutex preparations, is 35c separately.
Or ask for the sets in which it comes.
Sets are from 60c to $3.00.
Special Introductory Set that includes
the new polish —only 12c
Send 12c in stamps or coin with the coupon below
for a special Introductory Set that contains trial sizes
of Cutex Cuticle R err.over, Lquid and Powder Polish,
Cuticle Cream i Cuticle Comfort), emery board and
orange stick. Address Northam Warren, 114 West
17th St., New York, or if you live in Canada,
Dept. N-o, 200 Mountain St., Montreal, Can.
MAIL THIS COUPON WITH lie TODAY
Polish
Northam War REN, IX-pt
114 West 17th St, New York
I enclose 12c in stamps or coin for new Introductory Set that
includes a trial size of the Cutex L.quid Polish.
Name
Street
(or P. O. Box)
City
State
s***>-Jn,Pj
Their Crowning
Glory
Above: Mabel
Normand's fa-
mous curls are
arranged for her.
It is said that this
is the only time
Mabel will sit
still for more
than five minutes.
Left: Agnes
Ayres has her
coiffure retouch-
ed, so to speak,
before she goes
on the set. This
colored woman,
whose name has
escaped us, "does"
the hair of at
least half the ci-
nemese in Holly-
wood
(Sixty-six)
YOUNG WIFE MUST MAKE
THIS DECISION
IV hat will her face be in one-
in five -in ten years' time?
NEW surroundings —new responsibilities — new adjustments
to life. And with all these a new loveliness in her face.
Yet m .1 tew vears it has gone! What has become or it?
Should she have trusted this loveliness to keep on renewing
itself through the strain of her new responsibilities? Did she
allow the soft brilliance of her clear skin to grow dull — its
smoothness to be marred by little roughnesses? So many girls
lose this young freshness in the first few years of marriage.
But today they know that this loveliness must be guarded,
that it will be lost unless the right ore be given.
Many a wife has learned that she can keep her skin supple
and lovely by giving it regularly the two fundamental things
it needs to keep it young — a perfect cleansing at night and n
delicate freshening and protection for the day. And she has
learned that the Pond's Method of two creams based on these
two essentials of her skin, brings more wonderful results than
any other.
Two Creams each different — each marvelous
in its effect on her skin
Two Creams she would not give up for any others in the
world! First the exquisite cleansing of Pond's Cold Cream
that leaves her skin so delightfully fresh, so luxuriously soft.
Then the instant freshening she adores with Pond's Vanishing
Cream and its careful protection that she has learned prevents
coarsening. These two creams keep for her the smoothness of
texture and that particular fresh transparency that she wants to
be her charm ten years from now as it is today.
DECIDE TO USE THIS FAMOUS METHOD
Keep your skin charmingly young — for years
Do this tonight. With the finger tips apply Pond's Cold
Cream freely. The very fine oil in it softens your skin and
penetrates every pore. Let it stay on a minute — now wipe it
off with a soft cloth. The black that comes off shows you
how carefully this cream cleanses. Do this twice. Your skin
looks fresh and is beautifully supple.
Then in the morning, smooth on Pond's Vanishing Cream
lightly over your whole face. Now if you wish, rouge —
powder. How smooth and velvety your face feels to your
hand. The appearance of your skin and the compliments of
your friends for as long as you use these Two Creams will prove
to you how wonderful they keep your skin. Begin tonight to
use Pond's Two Creams regularly — buy both creams in anv
drug or department store. The Pond's Extract Company.
*-
Pholo by Leiarru A Hitter Studttx
^
Every skin needs these
Two Creams Pond's
Cold Cream for
cleansing. Pond's Van-
ishing Cream to pro-
tect and to hold the
pan der
Ponds
COLD
CREAM
GENEROUS TUBES— MAIL COUPON WITH 10c TODAY
The Pond's Extract Co., 132T Hudson St., New York
Ten cents Ooc) is enclosed for your special introductory tubes of the two
creams every normal skin needs — enough of each cream for two weeks* ordinary
toilet uses.
Name
Street .......
On Siair
(Sixty-seven)
-
Two Down, And One to Go
Milton Sills as Roy Glennister, and Noah Beery as McNamara, stage a pretty fight in
"The Spoilers." This is an example of the terrific reality of the modern motion picture.
No more doubles, no more fakes to mar the illusion of real people doing real things
(Sixty rtplit i
Keeping your
child's hair ^
beautiful ^
li hat a mother can do to keep
her child 's hair healthy —fine, soft
and silky — bright, fresh-looking
and luxuriant
THE beauty of your child's hair depends
upon you, upon the care you give it.
Shampooing it properly is the mosl im-
portant thing.
It is the shampooing which brings out all
the real life and lustre, the natural wave and
color, and makes the hair soft, fresh and
luxuriant.
While children's hair must have frequent
and regular washing to keep it beautiful, their
fine, young hair and tender scalps cannot
stand the harsh effect of ordinary soaps. The
free alkali in ordinary soaps soon dries the
scalp, make-; the hair brittle and ruin- it.
That is why discriminating mothers, every-
where, new u-e Mulsified cocoanut oil sham-
poo. This clear, pure, and entirely greaseless
product cannot possibly injure, and it does
not dr\ the scalp or make the hair brittle, no
matter how often you use it.
When oily, dry or dull
li your child's hair is too oily, or too dry;
il it is dull and heavy, lifeless, stiff and gum-
my; if the strands cling together, and it feds
harsh and disagreeable to the touch: or if
dandruff is accumulating, it im-
proper shampooing.
You will be delighted to see how easy it is
to keep your child's hair looking beautiful.
when you use Mulsified cocoanut oil shampoo.
The quick, easy way
Two or three teaspoonfuls of Mulsified in a
CUp or glass with a little warm water is suf-
ficient to cleanse the hair and scalp thoroughly.
Simply pour the Mulsified evenl) over the
hair and rub it in. It makes an abundance of
rich, creamy lather, which rinses out quickly
and easily, removing ever) particle of dust, dirt,
dandruff and excess oil the chief causes of
all hair troubles.
After a Mulsified shampoo you will find the
hair will dry quickly and evenly and have
the appearance of In'ing much thicker and
heavier than it really is. It keeps (he scalp
-oft and healthy, the hair fine and silky,
In ight, fresh-looking and fluff) . wavy and i >-\
to manage.
You can get Mulsified at an) drug store or
toilet goods counter, anywhere in the world.
A bounce bottle should last for months
Sf>Irnii:~ ■ i
/ •■
Mulsified
R S O U - B . ^ AT O * w ■
Cocoanut Oil Shampoo
'Sixty-nine)
\lbe Movie Lhc^clopdedi
The Ol' Lady. — No, I remember your letter well. I wish
you could have had a dictagraph in my office when I read
your letter. You would have heard some nice things. So you
dont think the falcon in "Robin Hood" should have had a bonnet
on. Maybe you're right. I agree with you on the second, but
you want to calm down to low speed on your third. Yes, Arline
Pretty is. Thanks, and do come again.
Ginger.— Thanks for your valuable hints on how to economize.
What we all want however is some hints on how to live without
economizing. About Herbert Rawlinson — he was born in England
and is not married now. Vincent Coleman is married. Baby
Peggy's parents are alive and she is playing in Universal's
"Editha's Burglar."
Joe C. — Welcome, since this is your first letter to me. Betty
Compson is at present in Europe playing in pictures. Gloria
Swanson is not married now. Thanks, and come again.
Reggie. — Yes, Reggie is a cute name as you say, but what is
the rest of it?
Ramon Novarro Fan. — You are a wonder. Most girls would
rather admit that they are thirty than to admit that they snore.
His real name is Ramon Sammanyagos. Address him at the
Metro Studios, 1025 Lillian Way, Los Angeles, Cal.
Galee. — I cant say that I agree with you. I prefer feasting to
fasting. Ask Edward our office boy. He knows. Thanks for the
information. Constance Talmadge is five feet five. Well I am
glad you dont think I am a woman.
Pauline B. — So you are in love : Whew ! Love is like hash,
you never can tell what you are likely to find in it. Yes, the
Valentines are touring at this writing. No, "Footlights" is one
play, and "Footlights and Shadows" another. Yes, Richard Bar-
thelmcss is quite in love with his baby.
John Z. — You mustn't mind that. A woman is built to worry
about somebody's staying out late at night, and if it isn't a man,
it's the hired girl, or the cat. Thanks, that was Jack Mower
as the policeman in "Manslaughter." My error, please forgive.
Cullen Landis and Helene Chadwick are married, but not to each
other. Thomas Meighan at the Famous Players Studio,
Astoria, L. I.
E. F. L. — Thanks — you say that you know Malcolm McGregor
is married and has a daughter three or four years old.
Dolly Bubbles. — Thanks for the violet. It doesn't .require
nerve to write to me. Thomas Meighan in "The Ne'er Do Well"
and "Homeward Bound." Marie Walcamp is not playing now.
Yes, Leatrice Joy is 24. No but Juanita Hanson expects to go
on . the stage. Thomas Meighan was born in Pittsburgh. In
January — the fifth. Yes indeed, to your P. S.
Freckles. — The trouble is, many people when they get married,-
quit being friends. Here goes — Jack Holt is married and has
three children. Playing in "A Gentleman of Leisure" for Famous
Players.
Temperamental Sixteen. — I suppose the reason that so many
people tell me their troubles is because they haven't anybody
else to tell them to. Misery loves
company, but company does not love
misery. No, Kenneth Harlan is
not married yet. Flo Hart was his
first wife. Gloria Swanson is
twenty-six. Lewis Stone is mar-
ried and Viola Dana was born in
Brooklyn. So long.
Mavis M. — You seem to have
more respect for the opinions of
our ancestors than I have. Since
they came first, are they not the
younger, and therefore the less ex-
perienced. Yes, you were right. Ken-
neth Harlan and Florence Vidor are
playing in "The Virginian." You have
the same favorites I have. Righto !
This department is for information of general interest-
only. Those v/ho desire answers by mail, or a list of-
film manufacturers, with addresses, must enclose a
stamped, self-addressed envelope. Address all in-
quiries: The Answer Man, Classic, Brewster Buil
ings, Brooklyn, N. Y. Use separate sheets for matters
intended for other departments of this magazine. Each
inquiry must contain the correct name and address
of the inquirer at the end of the letter, which will not
be printed. At the top of the letter write the name
you wish to appear, also the name of the magazine you
wish your inquiry to appear in. Those desiring imme-
diate replies or information requiring research, should
enclose additional stamp or other small fee; otherwise
all inquiries must wait their turn. Let us hear from you.
Betty Marie. — I am not so good as you think I am. I have
many vices, but my principal vice is advice. Kenneth Harlan
has been married once. That was Lloyd Hughes.
Fanny H. — Very few companies are buying original ^rripts
these days. You want to write a stage play in order to make
money in the movies. About two hundred words to a reel.
Tinker Bob. — I dont mind answering questions, but when I
am asked such questions as What is the secret of life — that
ignis fatuus of the scientists of all ages, and about the atomic
theory in reference to ether, and about the adequacy or inade-
quacy of vaccine, about the physical basis of solar chemistry,
about the immortality of the soul, about the theory of the cloud
belts of Jupiter and Saturn being raised by the sun's heat, about
the single authorship of the Iliad, and so on, I must reluctantly
and humbly say, "I pass." You want more of Pat and Micky
Moore. Just a little — more !
Y. Y. U. R. — Glad you liked the music. Even a hand-organ
sounds good to a person in love. So you dont think I am as old
as I say, my answers are too peppy. I sprinkle them with cayenne
you know. Claire Windsor in "The Acquittal" with Norman
Kerry and Richard Travers.
Ruddy's Friend. — He's got plenty of them too. You know
that there was a disagreement in his contract which forbids Val-
entino from playing in any other company but Famous Players
for almost two years.
Hilary T. — Well, in the long run you will find that it is much
cheaper to learn from other people's experiences than to let them
learn from yours. Casson Ferguson is no relation to Elsie Fer-
guson. At this writing the Bushmans are traveling, but mail
will reach them at the Hotel Majestic, New York City.
Marie C. — So you have heard a lot about Henry VIII, but
you want to know more. Did you know that he applied unsuccess-
fully to the Pope for a divorce from Catherine of Aragon, his
wife; so he had himself declared head of the church; married
Anne Boleyn after the convocations of York and Canterbury had
declared his marriage with Catherine invalid. He had Anne Boleyn
executed in 1536 and married Jane Seymour ten days after the
execution; in 1538 he was excommunicated by the Pope. His third
wife having died in 1537, he married Anne of Cleves in 1540; was
divorced from her the same year and married Catherine Howard,
who was executed on a charge of adultery in 1542, and married
Catherine Parr in 1543 and she survived him. Not such a dull
life. What ! Well I am glad you received Ramon Novarro's
picture. Now I suppose you are happy. Thanks.
Patricia P. — Joseph Striker was Jacques in "The Woman in
Chains."
Marilyn C. — I dont see how they can keep up your spirits
by preventing us from putting them down. Kenneth Harlan is
twenty-eight. No, I am not married. Single blessedness for
mine.
Margaret R— But they do say that when Hope Hampton
arrived in California three of the four Warner Brothers were
at the train to meet her and she was
presented with a $3,000 automobile
which came as a total surprise.
Aren't some people lucky? Lloyd
Hughes is married to Gloria Hope.
More Hope.
Forget-me-not. — Why "Robin
Hood" was the hero of a group of
old English ballads ; represented as
an outlaw and a robber, but of a
gallant and generous nature, whose
familiar haunts are the forests of
Sherwood and Barnsdale, where he
fleets the time carelessly in the
merry greenwood. There is no evi-
dence that "Robin Hood" was ever
(Continued on page 73)
(Scventx)
A
A Twin Complexion Treatment
II is hnrd to think of the ran and
the wind aa injurious influences;
\ct to the delicate -km o! the refined
woman neither is an unmixed blessing.
Both sunburn and windburn are
drying, roughening, and coarsening to
the complexion; while the dust that ac-
companies « m. I tends to clog the pores.
Pompeian Day Cream is ;i harmless
preparation ol exquisite fineness made
to protect the skin during the activi-
t the day from exposure to the
elements.
"N^ot Entirely Oilless
Unlike some "disappearing" creams,
Pompeian Day Cream is not entirely
oilless; on the contrary, it contains
just sufficient oil to make it desirable
for naturally dry as well as tor normal
or oily skins, and to offset the drying
effects of' sun and wind.
Restoration by Sight, » ith Pompeian Night Cream
To all appearances Pompeian Day
Cream vanishes upon application; it
actually leaves an invisible film on the
skin which serves as a protection against
weather; furthermore, this soft, dull
film eliminates and prevents shine and
makes a powder foundation to which
Pompeian Beauty Powder will adhere
evenly and smoothly for a long time.
The sleeping hours may be made a
period of benefit or of harm to the
Pompeian Night Cream (Ne« siylejir)6cc/>fr_/<2r
Pompeian Day Cream 6oc per jar
Pompeian Fragrance 25c a can
Protection by '■Day, with '■Pompeian 'Day Cream
complexion, according to whether the
skin is properly prepared for natural
restoration or carelessly left to the
heavy hand of time.
It a woman retires with her pores
filled with the dust and grime of the
day, with her skin dried and rough-
ened, wrinkled by mental concentra-
tion or worry, then the night hours
will serve to perpetuate these faults.
How to Keep the Skin in Condition
But if she will follow the simple
night treatment recommended she can
clear the pores, soften and soothe the
skin, relax the facial muscles, subdue
the wrinkles, and nourish the under-
lying tissues.
First, a cleansing with Pompeian
Night Cream, then a second applica-
tion gently smoothed into the pores,
and she is ready to let the great re-
storer, "balmy sleep," repair the rav-
ages of the day.
The Twin Treatment
The twin complexion treatment of
Pompeian Day Cream and Pompeian
Night Cream provides the two essen-
tials of day-time protection and night-
time restoration. If faithfully used,
these two preparations alone will en-
able any woman to greatly prolong
her hold on a youthful complexion.
Pompeian Beaity Powder. . . 60c per box
Pompeian Bloom (the rouge). . .60c per box
Pompeian Lip Stick 35c each
SMary "Pickford 'Panel and Samples
fend tkr coupon u ith ten cenli for leautilul next roil Pompeian Art Pane! ol Mart Piciford. With
this ranel ae lend sample! of Pompeian Nighl Cream, Day Cream, Beauty Ponder, and Bloom.
Pompeian Laboratories, 2128 Payne Avenue, Cleveland, Ohio
Alio Made in Canada
poMpeiar)
(ream
Tour Skin &*(tedj
S f)ti iii I '( \n\' in the Autumn
ImE. JlANNITTt
mlc .1 woman is In her l.rst hrulth
with the beginning >>i the autumn*
Mil t how about her skin }
!• rci|ucntly she is aware th.it she
has been negligent in her tare of it
during the l.i/y months of summer.
I have said it before, and I will con-
tinue 10 say, " Consistency \tlhe virtue
in caring for your skin." You are
nourishing its tissues; and it is very
like your body — you can't cat a sur-
feit of good food for a week and then
forget to eat for the week that follows!
Yet you do this when you use com-
plexion creams only part 0/ the lime.
*At CKjght —
Soup and water is the habitual way of
most women in cleansing the skin; hut
Pompeian Night Cream is, in many cases,
more thoroughly cleansing.
Pompeian Night Cream may be used as
lavishly as the individual user desires;
there is no such thing as using too much,
but enough should be used to cover every
part and feature of the face, as well as the
neck and the arms, if they too would be
kept in beautiful condition.
I do not advise too much rubbing and
massaging — just enough to thoroughly
distribute the cream. When you remove
it with a soft cloth, all dirt and dinginess
is also removed, leaving your skin soft
and smooth and lovely to the touch.
In the -Scorning —
In the morning you will find that the
night treatment has prepared your skin
to gratefully accept an application of
Pompeian Day Cream. This is a founda-
tion cream for the day's powder and rouge,
and it is a protection to the skin as well.
Then the 'Powder —
If the autumn finds the skin still some-
what darker than usual, you should use a
darker tint of powder than you custom-
arily do. Pompeian Beauty Powder in the
Rachel tint may be used on naturally fair
complexions until care has restored their
own delicate pinks and white tones, when
one may again use the White or Flesh
shades.
Cover the face and neck well with the
powder, and then dust it off lightly and
evenly, moistening the eyebrows, eye-
lashes, and lips to remove any traces of
powder from them.
i
LQau^M-
Specialiste en Beaute
TEAR OFF, SIGN, AND SEND
POMPEIAN LABORATORIES
:i;8 Payne Avenue, Cleveland, Ohio
Gentlemen: I enclose 10c (a dime preferred) for 1923
Art Panel of Miry Pickfurd and the four samples
named in offer.
Name
e 1923. The Pomt>ei«n ft
Address.
Citv
.State-
Flesh shade powder »ent unlets jew srrlte another below
(Seventy-one)
SEM-PMY
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What can I do to preserve
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Keep your complexion
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oA Smooth Satiny Skin
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It cleanses — nourishes —
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Natural
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The Hollywood Boulevardier Chats
(Continued from page 62)
long, opened July 2 in Los Angeles.
It is a grand affair in honor of the
Centennial of the Monroe Doctrine.
It isn't clear just what the Monroe
Doctrine had to do with the motion
picture industry. But anyhow the
United States Government was suffi-
ciently impressed to issue special
souvenir half dollars.
Bill Hart, who has gone thru a
long cruel experience with his domes-
tic trials and tribulations, has decided
to return to the business of making
motion pictures. He is to begin at
once at the Lasky studio.
A terrible rumor has it that Jane
Cowl intends to film "Juliet" when
she comes to the Coast with her
dramatic company. All this will do
will be to drive two young ladies to
the brink of suicide. Both Norma
Talmadge and Mary Pick ford hanker
and yearn to play Juliet on the screen
sometime. Norma wants to wait un-
til she can get Valentino as Romeo ;
Mary's difficulty is that she cant per-
suade Doug to play Romeo. She
realizes that it would be taking a long
box-office chance to film Shakespeare ;
a handicap which would be overcome
if Douglas and she were to appear to-
gether. + + +
One of the most interesting open-
ings ever held in Hollywood took
place at the Writers' Club the other
night when "The Talisman," the
first production of the Associated
Authors, was shown. It is practi-
cally a sequel of "Robin Hood," tak-
ing up the adventures of Richard the
Lion Hearted after Robin Hood
turned back to England. The audi-
ence was thrilled when the King re-
ferred feelingly on the screen to the
"Earl of Huntingdon whom I treated
unjustly" and a piece of the real
"Robin Hood" film flashed on, with
Doug and all the rest of it.
Charlotte Merriam, one of the
newest invaders of Hollywood, was
an army girl ; born in Fort Sheridan.
Her father is Col. Henry Clay
Merriam, commanding officer at Fort
Preble. She shoots and rides and
swims. On a recent location tour in
Inyo county where she was making
exteriors for "The Huntress,"
Colleen Moore and Snitz Edward-
collaborated on a barbecue for fort)
Indians who worked in the piece.
* * *
Charlie Chaplin has settled the
question which has been agitating the
public mind. He is not going to re-
tire. After he finishes the cutting of
"Public Opinion," the dark and
tragic play which he has been direct-
ing, he will take a vacation ; then be-
gin work on a five-reel comedy.
(Continued on page 74)
A kiss in the movies by Corinne Griffith and Frank Mayo. It is from
"Six Days," but six days for this sort of thing isn't nearly long enough
\S event y-two)
_
The Movie Encyclopaedia
•Iiiiui'iI from pOQt 70)
more than a mere creation of the popu-
imagination \\ hj . I onwaj rearh
is five feet eleven and Bett) Blythe five
ulfic Rowland had ■ itnall
part in "Vanitj Fair." Lionel Barrytnori
after "Eyes rhal Wont See" expecti to
return to the stage under Bell
Irish.— You say you want interviews
with Richard Dix, «. > >nr;ul Nagel and
Thomas Meighan. I'll speak
ibeth Brad) about that.
lood morning glorj ' I
\ou arc here again. Welcome to our city.
iys glad to see your name at tb
sheet, for then I am sure to r< -ad
some sensible questions and comments I
agree with you about "Glimpses of the
Moon." So Ramon Novarro is your
Crane Wilbur of old. Write me
again.
Rosalie. — The best benevolence is that
which comes from hidden sources. I
thank you. We published a list of the
studio addresses recently. You want
Norma Talmadge on the cover. How do
von like this one ':
Ritii K.— Yes, I live alone. Many of
our great men. including myself, lived
alone, or were addicted to seclusions, in-
eluding Swift, Goethe, Shakespeare and
Thoreau. Yes, Ruth Roland is thirty-one
and has hazel eyes. Norma Talmadge
twenty -eight and brown eyes. Bert Lytell
is married to Evelyn Vaughn. Harrison
Ford has brown c
H. B. — Address William Farnum at Fox
Studios. Los Angeles, Cal.
Blue Eyes. -Thanks for the new name
you give me — multum in parvo. I hope
that as time goes on it will be more in
little, and finally much in more. Tom Mix
ih Fox His last picture was "Tem-
pered Steel." Warner Baxter in "If I
were Queen." Yes, "The Remittance
Woman." Dont mention it.
Desdemona. — -Since you insist upon
knowing, my beard turned grey before the
hair on my head. Altho the former was
about thirty years younger. I suppose it
was because I worked my jaws more than
my brains. Xo, I dont happen to know
what Pearl White's mother's name is or
was. Is it any wonder my head is bald ?
Bebc Daniels is with Famous Players.
Doug. Mcl. — Sobiet ! Yes. Lionel Bar-
rymore is now married to Irene Fenwick,
the stage star, and Doris Rankin, his for-
mer wife, is now married again. Just a
case of no time lost. H. B. Walthall and
Alice Lake in "The Unknown Purple."
S kshin'E. -Well, I presume one would
say Oxford ties. Norma Talmadge is do-
ing "Dust of Desire." Ernest Truex and
Florence Eldridge in "Six Cylinder Love"
for Fox.
Mary Lee. — I cant say that I admire
those new fashions. It has always been
a mystery to me why women's legs dont
Ket cold in winter. Creighton Hale is play-
ing in "Broken Hearts of Broadwav" and
Trilby."
Blythe I.— Well, I advise you not to
marry for money unless you want to trade
your liberty for a golden collar that will
always be Uncomfortable. You want to
see Jack Gilbert, Tom Mix and Carol
Dempster in the gallery. They will all
appear in due time.
Yvonne. — The female of the species
usually write longer letters. So vou are
going back to college. Good for you.
W ish I could go too. There is so much
to know. Even at eighty I dont know it
all. Vou want to see more of Pauline
Garon and Mae Murray. Cheer up.
Better times coming.
(Continued on page 79)
Enjoij thirst-
At a cool and cheerful
place, he rules with a
smile of welcome. He's
quick with his hands and
quick with his thought.and
he knows how to serve just
what you want~ when you
come in all thirsty and hot.
Drink
Delicious and Refreshind
The Coca-Cola Company
Atl/intA , Ca
5*
(Seventy-three)
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favorite of women of taste in society
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The regular price Is $15.00 an ounce, but for 20c
you can obtain a miniature bottle of thi»
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The Hollywood Boulevardier Chats
(Continued from page 72)
I have given up guessing about this
romance stuff, but anyhow Charlie is
building a new house at Beverly Hills
and Pola is helping to pick out the
furniture. You can make whatever
you choose out of that.
I dont know what name will be on
the screen as purported the author of
Jack Pick ford's new story of the
Kentucky mountains ; but I can tell
you who really wrote it : Sister Mary.
It seems that Jac"k could not find a
story, so Mary, between whiles of her
own production, "The Street Singer,"
just licked the end of her pencil and
thought deeply and — well, there's the
story.
Little Beth Milford. who is to play
the leads in H. C. Witwer's "Fight-
ing Blood" stories, stepped out of the
Music Box Revue to play the part.
She cherishes a note as a farewell
souvenir. It seems that one night she
received a note from Frances Starr,
who was sitting in a box, asking her
if she would not pose for a painting
for Miss Starr's husband, Haskell
Coffin. She did so and it led to a pic-
ture contract.
(Continued on page 85)
Photograph by John Ellis
At the top
of the page
is one of
the many
beau tiful
scenes from
"The Girl
of the Gold-
en West"
"Big Tree,"
a full-
blooded
Apache
Indian, ap-
pearing in
R e ginald
B a r k e r's
"The Mas-
ter Woman"
(Seventy-four)
How the One Natural Color for Cheeks Was Found
'Day and Night Tests That Told Why%ouge's
Familiar Shade Was Wrong — and Eventually
Duplicated Nature's Own Color ,,,...
MOST WOMKN
now know and
use the now natural
tint which is fast re-
placing the unscien-
tilicandunsatisfactory
purplish-red rouges.
But how many are
awareof thepeculiarly
interesting story of its
discovery?
We are apt to take
the most marvelous
discoveries of this age
as a matter of fact — '
even one of such im-
portance to the realm
of beauty as a tint that
is a perfect match for
Nature's own artistry !
Suddenly science
gives the world of
women a tint which
tinges the cheeks in such a true
tone as the very strongest sun's
rays, or the weirdest effects of
night lighting cannot separate
from the underlying flesh tone,
and we accept it without thought
of how it came to be.
Yet behind the simple,
single tint which gives
any and all complex-
ions a divine and per-
fectly natural mantle
of color is the story of
man's indomitable
perseverance — two
years' ceaseless ex-
periment — over two
hundred failures, and
eventual success.
The search for the
perfect tint led a digni-
fied scientist to a cel-
lar's depths — and to
the roof of a city's tall skyscraper.
Tint after tint — tone upon tone —
were tried in every conceivable
light. In noon's glare, atop a high
roof. In the streets below, where
the sun's rays filtered through
'In goon's Glare, Atop a High Roof
fog and smoke. And in the arti-
ficial lights of night— trying lights
in which old-fashioned rouges all
became the same ghastly, or un-
lovely purplish red.
On a patient assistant's cheeks
shade after shade was
tried. Some of the
shades required in-
gredients from far
countries— many were
days in the blending.
Then, suddenly it
happened.
'^Beneath Trying Artificial Light
The Tint That Was
Tried In 'Desperation
One morning the sci-
entist used in his mor-
tar one of the rarest
ingredients in the lab-
oratory. It was of pe-
culiar orange hue.
Scarcely a color to try
on the cheeks! But he idly applied
it on his assistant's cheeks — and a
startling change took place. The
peculiar orange tint altered in-
stantly to the true tone of the skin
beneath! Still doubtful that he
had found the one key tint for
any complexion under all
conditions in every light
they Inn ried to the n-ot and
put the new tint to the mmm-
te t of direct Bunlight '1 li<-
same beautifully diffused, nat-
ural color! Down toadarkened
room, where neither jdariiik'
incandescent lamps nor var-
JM0 iously shaded rays of
electric light revealed
anything but a color-
ing that appeared .'■
ture's own! The same
day, preparations
were started to supply
the demand that such
a discovery was cer-
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this new Princess Pat
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It enhances the color of
countless women who had
steadfastly declined to use
any of the old-fashioned
rouges which are so obvious
in even the kindest light.
Trincess Tat Tint is Waterproof!
Where the new natural tint is made, fur-
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On any complexion, remember there is
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certainty of matching; for the one tint
is instantaneously
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blend with any type
— blonde, medium
or brunette; and this
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The ^ew, ''Natural Tint : Always Ask for It by Name
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Ice Astringent Creams Almond Base Powder Princess Pat Perfume
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Until the shops have been sufficiently
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ENTIRELY FREE, please forward me
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Name (Print)..
Street
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A new use for an
old friend
Many users of Listerine have never discovered
the unusual properties as a perspiration deodorant,
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The Girl Who Couldn't
Stop Crying
{Continued from page 39)
When the World War broke out,
she was dancing with her brother and
sister in Brussels. There was a
rumor in the city that the British
troops were coming to the rescue.
So they all rushed out to cheer. Only
they turned out to be Germans in-
stead.
German sentries were on every
street corner and she was to all in-
tents and purposes a prisoner of war.
It was no part of her intentions to
stay cooped up in Brussels however.
By dodging sentries, she reached a
railroad station and hid in one of the
freight cars. In that way she finally
got to Ghent and from there the Bel-
gian train men helped her to get to
Calais.
She managed to get herself across
the Channel and found an engage-
ment in London in a big musical
comedy in which she made a great hit
with a specialty dance. She went
back to Paris and was one of the
big hits of the Folies Bergere.
After the war, she made her way,
dancing all the while, to Australia,
by way of Canada, arriving in
Canada just in time to get into the
Halifax disaster.
She was dancing in New York
when Sam Goldwyn saw her and
persuaded her into pictures. The
leading man of her first picture was
Tom Moore who persuaded her into
matrimony.
Not very long ago, Moore went to
London to do a picture and the little
bride went along. They visited his
old home in Ireland and then came
back home to America. The day they
landed in New York Moore had an
offer to do a picture there.
But not for Renee — too cold. She
came out to the Coast to get warm
and it proved to be her great oppor-
tunity.
Until this Barker picture, her two
biggest parts were in "The Strangers'
Banquet" and Fox's "The Strongest."
DISILLUSION
By Edward H. Pfeiffer
I walk thru the darkness
With silence, my friend.
I am dreaming of lovers
And love without end.
A dark form is pressing
A woman's bright face.
A pang of sweet envy —
I slacken my pace.
I grope and draw nearer,
And peer thru the night .
Tis only a shadow
Embracing a light!
(Seventy-six)
The Genius of Gesl
>ntinued from page
sense Rhyme, Fantastic "ifs"
such ;i- these mighl etch a Joseph
Schildkraut.
A young man, t\\ ent) -seven, young
and beautiful and gifted. A young
man sought by the world. Yon
might assume that he would in turn
seek the world again, dance in it.
dine with it, make merry with it.
But he doesn't. He lias never ac-
cepted a social imitation. He nevei
dances. He never dines out. When
he is not on the stage he is in the
dim and Imok lined room, reading.
Living, I suppose. Living his own
life, perhaps, more authentically
than mosl of us do. He knows ahoul
six people well. Of these six, three
are his mother, his father and his
wife.
The world, he says, is not inter-
ested in Joseph Schildkraut, the man.
But only in The Chevalier and in
Liliom and in Peer Gynt. The
men he is on stage and screen. Very
well, they shall have him as Liliom
and Peer Gynt. hut Joseph Schild-
kraut they shall not have.
He shrinks from "Fame." and asks
what is it?
Acting seems futile ... it may
have heen a mood. If one writes a
book, or a poem, if one paints a pic-
ture, one survives. One goes on.
One is preserved for posterity. But
an aetor ! A shadow across a screen.
When an aetor is gone, when his
little day is done, what remains of
him? What has he left? Nothing-.
A name. A memory. Fragile git't-
to the generations. He struts, the
aetor. a few slight hours upon the
Ixiards in other guises than his own,
and then is gone.
Posterity is the only reality. The
only worth-while thing.
"I should like to he a bank-clerk,
with children . . . but of course, I
shall have children. Children are
what we Ming ahead of us into the
ages. Children are our immortality."
\nother curiousness. that he should
he so lightly touched with Egomania
as to care so deeply about the To-
morrows that will not know him,
save by name.
Out of the world he knows he has
picked Beauty and Posterity as the
final essentials. Beauty of living.
Beauty of loving. We. the World,
are afraid of these two. he says.
Either we bruise them or we turn
away from them. And Posterity.
For posterity there should be sur-
vivals of art, children, symbols of
immortality.
Perhaps, he suggested, he hasn't
had to struggle enough. With him,
Why Women Smile
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acting is in part due to heredity, for
the elder Schildkraut is also an actor
of enduring worth. And the elder
Schildkraut didn't wish the young
Joseph to be an actor. He wanted
him to be a musician and for years
he studied music, the violin. . . .
Once the parental objection was
overcome, the path was easy of as-
cent. To have played Richard the
Second, Liliom and Ibsen's Peer
Gynt at twenty-seven is to have
slain most of the Goliaths. Perhaps,
he said, if he had had to struggle
harder, had to climb with greater
difficulty, the rewards would have
been sweeter and more precious.
So much for an observation. A
romantic recluse. An artist more
than touched with the eccentricity of
genius. A young man with a beauti-
ful face and a ringing laughter. With
a sense, not so much of humor as of
the grotesque. Living in his book-
lined room, with the things that have
been his since childhood. Consider-
ing Futility and Beauty and Posterity.
Good and Bad Authorship
(Continued from page 11)
prerogative of helping to make good
pictures out of their literary master-
pieces.
This business of making a book or
j:>lay into a picture is frequently a
difficult job, requiring much thought
to translate words into visible action.
After we writers for the screen have
spent weeks and weeks trying to keep
the spirit of the thing which we are
adapting, it rather gets our goat to
have authors cry out, without any
distinction or discrimination, that all
picture writers are butchers who get
a savage joy out of mangling their
works.
Let them give us better books and
better plays and we will see what
happens to the screen. Or, better
still, let them give up some of their
valuable time and learn screen tech-
nique, so that their self-admitted
creative ability can express itself di-
rectly in terms of the screen. If they
are as non-commercial as they admit,
let them stop writing mediocre plays
and books and try to learn how to
write really good pictures. Perhaps
they can then convert the picture in-
dustry into an art.
WHILE THE FOREST SLEEPS . . .
By Gladys Brace Vilsock
While the forest sleeps . . .
The lake is holding the moon in its heart.
As I am holding you in mine.
Over the water drowsed with love,
A white swan drifts,
Drifts over me,
And sings its dying sweetness to the moon
And sings to you.
(Seventy-eight)
The Movie Encyclopaedia
■tinned from /m</.-
Hot Kissks Send along the pictures.
\\ ill be glad ti> see thera.
Anni 1). Will, the reason that I s.,\
harsh things sometimes, is because .1 word
to the unwise is nut sufficient, and l have
to take .1 club. Ro) Stewart is playing in
"The Love Brand." You refer to Edward
Burns Cant give you Norma Talmadge'a
home address but you can reach her al
5341 Melrose Avenue, Los Angeles, Cal
Marion Most of me players write the
stories themselves. \ great tu.ni> have
secretaries. You're welcome.
Lams. Which proves the truth of die
old Chinese proverb, "First impressions
rule the mind.' John Bowers is with face
lohii Barrymore at the I. ami)- Club, 144
W. 44th St., New York City. Niles Welch
in "Rags to Riches." All right, send me
vioKt-- when 1 die.
Florence K. — Sincerity is all that is
right and hest. Cant tell you much about
Harrison Ford. You think he is one of
the most prominent nun on the screen.
Yes, he played in "Little Old New York."
C. G. B. — Yes, the sail wells in
Onondaga County, New York, near Syra-
cuse and Salina are a large and important
industry. Michigan has the largest out-
put next to New York, and many other
States produce it to some extent. But
the home supply is not equal to the de-
mand, and there is a large annual im-
portation into the U.
is not plaj ing now.
"Rupert of Hentzau.
S. Xo. June Elvide
Bryant Washburn in
Yes, indeed, I al-
ways did like Alice Joyce. Mary Miles
M inter is not playing now. Clara Bow
was last year's winner. Constance Tal-
madge twenty-three. Dont mention it.
1 rv Hand ok Oak Lank. — I should
say not. The Terrvs you mention are not
related. Alice Terry is five feet two and
Rex Ingram will probably continue to di-
rect. There is more money in directing,
you know.
A Girl from Ccba— You write a very
interesting letter.
Ritii D. — The reason that I answer
such questions is that one of my functions
is to assist the inquiring, to animate the
struggling, and to sympathize with all.
Irene Castle is five feet seven and weighs
115 pounds. Auburn hair and grey eyes.
Address her at Ithaca, N. Y.
J. Brow nik. — No, Baby Marie Osborne
is not playing now.
Ruth. — I'm sorry but I never send out
pictures of myself. The only picture I
have is the one up above. Write me again.
Edna C. — I enjoyed your letter, but it
was terribly long. Your terminal facilities
are defective. Mary Pickford was born
in Canada, and I am not giving out her
age. What's the difference, she will
always be our Little Mary, no matter how-
old she is. She is five feet, has hazel eyes
and blonde hair. Playing in "The Street
Singer." Colleen Moore in "April Show-
ers."
Marie K— Please dont say to me "May
your shadow never grow less." I am try-
ing to reduce. Yes, indeed, Jackie Coogan
is living with his parents, or maybe they are
living with him. Yes, I think Valentino
will come back to pictures.
Lloyd M. — Sorry, but there is nothing
I can do for you.
Eileen.— I haven't heard what Sessue
Hayakawa intends to do, but I am inclined
to believe he favors the stage.
Anti.— Yes, he disappeared, but I dont
know whether he ran away with a woman,
p" , ",v!le- Rod LaRocque is not married.
£earl White has been married to Victor
Sutherland and Wallace McCutcheon,
(Continued on page 86)
(Seventy-niiu)
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Trilby
(Continued from page 32)
breaking the silence, "Remember the
way Trilby used to sing, all off the
key? How long ago that seems —
two years, isn't it ?"
And — "I wonder whatever became
of Svengali and his wee bit fiddler,"
the Laird would burr, "that mon was
almost crazy enough to be a genius,
and he could sniff a sausage cooking
three blocks away !"
One day in a two-month-old news-
paper they found the name Svengali,
a Madame Svengali whose voice was
the musical sensation of the hour.
"'So," the gushing reporter had
written, "might the Angel Israfel
have caroled. The purity of her
tones is almost unearthly in its sweet-
ness, melting strong men to tears."
"Wonder if our friend of the facial
foliage could have married a great
singer," Taffy chuckled. "When we
get back next month we must go to
hear her. I should like fine to see the
Laird melted to tears !"
The Cirque de Bashibazooks was
crowded when the three friends took
their places in a box on the first
night of their return to Paris. Little
Billie's elbow nudged Taffy's ribs ex-
citedly as a familiar figure parted the
curtains at the back of the stage and
took his place at the piano. The frock
coat was new, the unkempt beard was
trimmed, and the long hands that
swept the keys were somewhat
cleaner than of yore but there was no
mistaking Svengali.
"Who do you suppose " the
Laird began, but Little Billie had
leaned suddenly forward, staring
down at the woman's figure advanc-
ing toward the footlights. She was
gowned in a classic robe which fell
about her majestic figure in statu-
esque folds. The suggestion of a
Greek marble was heightened by the
whiteness of the face under the
filleted bands of dark hair. She
stopped in the full center of the stage,
and Taffy felt a chill sensation at the
roots of his hair. For one foot was
advanced beneath the trailing robe, a
hare white foot in a Greek sandal —
the most beautiful foot in Paris
"You see?" Little Billie breathed
in his ear. His hands were crooked
around the red velvet railing as tho
to keep himself in his seat.
"But it couldn't be," Taffy gasped
stupidly, "Trilby couldn't sing a note
and listen to that !"
From the deeply curving lips that
they remembered came a stranger
voice, unearthly pure and clear, its
fires the cold flames that are prisoned
in ice floes in unsailed seas, soaring
effortlessly to the very gates of
Heaven, falling about their astounded
cars in a bright rain.
What she sang they could not re-
member afterward, only the wonder
of it, the strange awe. as tho they
had listened to some celestial visitant.
For a moment after she had disap-
peared behind the sweeping velvet
curtains the audience sat silent still
held by the spell, then Svengali was
bowing greasily to a mighty surge of
applause, but Trilby — or she who
sang with Trilby's lips did not reap-
pear.
Without a word the three rose and
left the box. Their knock on the
dressing-room door was answered by
Svengali, whose face seemed to re-
treat watchfully into his beard at
sight of them.
They stammered incoherently,
looking beyond his barricading arm
at Trilby, their Trilby sitting unmov-
ing in a deep chair with closed eyes.
For the sake of old times — if they
might speak to — to Madame Svengali
and tell her how much they admired
her singing
Thus Taffy and the Laird, but
Little Billie spoke not at all, only
stared as one at some supernatural
manifestation. The musician's eyes
were hostile, the eyes of the cornered
rat, but his voice was greasy with
loving kindness. "The gentlemen
were mistaken, Madame was no one
they knew. A resemblance, perhaps ?
But Madame was very tired, before
she sang again she must rest — if they
would excuse "
Little Billie interrupted rudely.
"D'you suppose I dont know Trilby?
Dont point your finger at me, you
fakir " he made a step forward
as if to. push Svengali aside, "Trilby!
Dont you remember Little Billie !"
"Yes, tell the gentleman yourself,
my dear," the musician said softly.
He almost purred, little bright eyes
never moving from the pale face that
turned toward him at his words, "tell
the gentleman that he is mistaken in
thinking he knows you !"
"You are mistaken — in thinking
you know me," said the deeply curved
lips obediently. There was not the
slightest trace of recognition in the
gaze she turned upon the three at the
door, and Taffy began to back away,
hot with apologies, but Little Billie
advanced upon Svengali. jaw dan-
gerous. "She's afraid of you or she
wouldn't have said that! Let me in
or I'll come in anyway -"
"Dog !" panted his ancient enemv,
and without warning was upon him,
squealing, kicking, biting, winding
(Continued on page 82)
(Eighty)
When Your Ship Comes In
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Advocate of Self-Expression
What Cizek, famous painter and revolutionary
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When Harris Met Gorky
An account by Herman George Scheffauer of the
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Play-Going Pests in Paris
George Middleton writes humorously of the dif-
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Why Do We Misbehave ?
Is there more lawlessness than there used to be
because there are more laws and easier ways to
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These, Too, Will Delight You
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For September
(Eighty-one)
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Trilby
(Continued from page 80)
the long hands into Little Billie's hair.
Taffy and the Laird dragged their
companion away, leaving the little
Italian panting and dancing; as they
glanced hack they saw that the wom-
an still lay in the long chair without
motion, her eyes gazing away into
nothingness.
"We must have made a mistake,"
Taffy burbled uneasily, knowing no
mistake had been made, "couldn't
have been she, Trilby couldn't
figu
sing-
Little Billie stared down at the
empty stage with suffering eyes as a
strange pianist appeared. Madame
Svengali — his Trilby, that was all
that mattered. He alone of the vast
audience hardly noticed what hap-
pened as the white-robed figure came
down to the footlights and began to
sing again, for he was back in the low
room at the Passage des Abbesses
and Trilby was smiling at him from
the model throne
It was laughter that aroused him
from his dream, cruel, derisive. The
audience was in an uproar, cat-calls
and hisses sounded shamefully from
the gallery and Taffy's fingers dug
into the flesh of his shoulder while
Taffy's voice sobbed in his ear,
"God! She's forgotten how to sing!
She's doing it the way she used to !
It's awful and look across there in
the box yonder. Svengali ! What's
the matter with him?"
In the velvet chair opposite, the
of the music-teacher lay
sprawled in a strange posture, one
hand clutching at his breast, but
Little Billie did not glance at him.
Hand on the rail he had vaulted
down onto the stage in time to catch
Trilby as she fell.
The story was in the papers the
next morning under the scare head
"Death of Svengali from Heart Fail-
ure in Opera Box Reveals Amaz-
ing Hypnotic Feat." For two years,
the story went on to say, the music-
master had hypnotized his wife so
that she was able to sing correctly,
but the moment his power was with-
drawn only deafening discords came
from the throat that had enchanted
the world. Dazed and bewildered by
the shock of yesterday's fiasco, the
report went on to say, Madame
Svengali was seriously ill and doctors
despaired of her life.
Little Billie refused to believe the
doctors. He knelt for hours by the
bed where Trilby lay and tried to call
her back from the far places where
her soul wandered with all the power
of his love. Sometimes the heavy
lids unclosed and she smiled vaguely
at them, but it was only at the very
last that she spoke. "I should so love
to — have been happy and had — a
home — and a little baby. But you
mustn't spoil — his career — Little
(Continued on page 95)
Bombed Into the Movies
(Continued from page 26)
are "Without Benefit' of Clergy,"
"Doll's House," "Rubaiyat," "The
Infidel," "Science or God." "Wheels
of Fortune," "Is Matrimony a Fail-
ure?" "Lest We Forget," and most
recently a Carter de Haven comedy
called "Christmas." He is now
working with Jane Novak in a di-
vorce drama.
Miss de Lacey admits that his
name is not a Philippe. She says that
his first name as a baby was An-
dreas: further than that she refuses
to reveal. With engaging frankness
.she states her reason. She fears that
some relative might hear of him and
claim him. So far as she knows, he
has no relatives left ; but why take
chances ? Why indeed !
Little Philippe has so many moth-
ers— yet no mother. In every play
lie has another pretend mother. For
the purposes of identification, he
calls them hi-- "screen mammas"
while Miss De Lacey he calls his
"regular mamma."
The Sport of Kings — and
Movie Stars
(Continued from page 19)
inhabited by cannibals, and the party
set sail heavily armed with rifles,
revolvers, and machine guns. They
did not come into combat with the
cannibals, but they nearly lost their
lives in the terrific storms.
Then there is the thrill of the big
race. John Bowers has his schooner
Uncas in the great international race
that will be held this summer from
the Santa Barbara Yacht Club to
Honolulu.
And Allan Hale is building a
speedboat which he expects will cap-
ture the motor races at Los Angeles.
Aye, verily, the sport of kings —
and movie stars.
SQUARING THE TRIANGLE
By Mary Carolyx Davies
Look with what wisdom you can bring,
At -hers and yours, and my angle.
Squaring the circle's an easy thing,
But who can square the triangle ?
(Eighty-two)
How the Motion Picture H;i^
Influenced Young Peru
ntinued from page 22)
As a result, the Peruvian woman
has now not onlj changed her man-
ner of dressing and is reforming her
figure by a lesser indulgence in
sweets, but she goes in for sporl a'nd
Bport clothes. "Esport" they call it
(low n there.
The languorous-eyed, black-gowned
Peruvian woman lias emerged from
behind the carved gratings of her
balcony from which, ever since the
days of the "conquistadores," she
viewed the world and is now to be
seen in suitable sport dross, or walk-
ing costume on the golf links or city
streets.
With this change of dress has
come a freedom of action, that was
undreamed oi a generation ago. In
the films perfectly nice girls talk to
men alone. That was an eye-opener
for the Peruvian girl and her chap-
eron. It had been the custom oi the
country for a young girl never to be
allowed to remain in a room alone
with a man. Also "ladies" are shown
in American dims as working. Often
they do their own housework, or
earn their own living. This is some-
thing that no Peruvian lady could
do. A Peruvian girl, no matter how
she was. until very recently
never dreamed it was possible that
die could support herself, could go
out and work. It simply wasn't
done. These antiquated standards
.".re rapidly changing.
Another very important effect of
the moving picture in Peru, is bring-
ing home to the male population the
truths of fairness, honesty and play-
ing the game.
No Peruvian school teaches ath-
letic-. There is no such thing as
interschool games. Hygiene and
physical fitness as we know them are
unheard of. Put when a Peruvian
hoy sees a Douglas Fairbanks film.
in which physical fitness and fair
play are the usual themes, it gives
him something to think about. The
idea dawns, that standing on the
>treet corners or in front of cafes
eyeing the senoritas as they pass, or
whispering things in their ears, or
taking dope, or imitating the pasos
61 the popular matador, is perhaps
not the only ideal of a well-spent
youth.
Sportsmanship is not a South
American virtue, that is. as we know
it from the Anglo-Saxon point of
view. Honesty and good sportsman-
ship are qualities which the human
animal is not necessarily endowed
with, hut they are qualities which
(Eighty-three)
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education lias made almost second
nature.
Now to be educated always sounds
like a tedious process, especially so
in the tropics where one is less likely
to be energetic and eager for uplift.
But thru the sugar-coated medium of
an exciting movie story these same
ideals are taking effect.
The result is evidenced on all sides.
And not only in Lima but in small
Indian towns. In the little fishing
village of Ancon where the cinema
is shown in a mud hut with wooden
benches for seats, I have seen the
audience, which consists of Cholos
(the Peruvian Indian), get up and
cheer the bravery of "El Leon de
Sierra" (The lion of the mountains)
or the Samson-like feats of Elmo
Lincoln or Ruth Roland's gallant es-
capes in "La Hija del Sol." The
audiences in the smaller towns
are for the most part illiterate, and
an elected reader translates the cap-
tions. So realistic is the story to
these primitive people that they will
sometimes throw things at the villain
and always shout and cheer when
the heroine escapes.
Over the summit of the Andes far
down the other side in the tropical
Peruvian colony I saw a Mrs. Ver-
non Castle film. The audience con-
sisted entirely of Indians. She was
not popular, as primitive people want
red-blooded action. This accounts
for the popularity of the serial
thriller, featuring such stars as Pearl
White or Ruth Roland.
Charlie Chaplin's universality is
manifest when a Hill man untouched
by civilization, who has never been
away from his village and who has
probably never seen a derby hat and
doesn't know that a small man in
large-sized clothes is traditionally
funny, can yet meet a European or
North American on the common
ground of laughter.
Foreign Films
(Continued from page 25)
when a girl of his age with whom he
often used to play has mysteriously
disappeared
The young Holmes will find where
his friend is. She has been kept in
the clinic of a mysterious doctor, who
believes in the theory of restoration
to youth and who is prepared to be-
gin the practice himself. The victim
is the young girl, who, however, is
finally saved by the courageous
Bobby.
If the story is improbable, the act-
ing is excellent, especially on the part
of the young actor who promises to
go very far in his profession.
(Eighty-four)
[Tie Hollywood Boulevardiei
Chats
ontinued from page !
Harold Lloyd has broken up his
long association with Hal Roach.
I'liev began producing together when
they were extra l)oys at the Universal
and saved up $300 to make a cheap
comedy. Everything is amicable, bul
they have decided to dissolve their
partnership of nine years' standing.
IJoyd will work at the Hollywood
Studios am! his future comedies will
be less given to Minus ami will par-
take more of the character of
"Grandma's Boy," which is his
favorite child.
* * *
Natalie Talmadge Keaton is going
hack to the screen again. Buster, Jr.,
is now a year old and his fond
mamma will play the leads in his
Pa's next comedy.
Lenore Ulric has fallen in love
witli Hollywood and will return next
season to film "Kiki." She is now
making "Tiger Rose."
COMPARISONS
By Ellen Rogers
Love never blooms the same for everyone.
Bul still it's strange that it should droop
for you,
Who takes such care of things!
Besides, your plant had such a lucid, neat
beginning :
A white-walled garden, with a bird's crisp
singing.
And feathery cedars brushing sunlight
thru.
While mine grew in a neighbor's backyard
plot—
Bedraggled, drab enough to be my own.
With groping peccancy
I plucked it. soiled my skirts, and took to
lying.
And listening blandly to my neighbor's
Sighing. . . .
Indecent, isn't it, the way it's grown?
REBUKE
By Aida Rodman Dr. Milt
You speak to me of love — O do you know
What this would mean to her who hears
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Who bore your children and remains the
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Men deem you worthy of your whilom
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Within my breast no hint would I bestow.
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The fact that she might never know is
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Inducement to betray her faith in us;
Speak not again of this, nor soil your life
So fair in all else with so foul a blot ;
Forgive my having stirred this impetus '
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The Movie Encyclopaedia
(Continued from page 79)
hut not at the same time. Jackie Coogan
horn Oct. 26, 1914.
Helen. — Yes, send twenty-five cents in
stamps for the October 1919 issue of the
Motion Picture Magazine containing the
story "Male and Female."
Hope. — Well, love is like hash ; you can
never tell what you are likely to find in it.'
Mildred Davis intends to do some more
honeymooning by going abroad.
Miss Dorothy. — Where was Magna
Charta signed? At the bottom. And you
really intend to go on the stage. There is
lots of time, why not try to get a little
more knowledge. When you come to New
York, look me up. Pola Negri in "The
Spanish Dancer" with Antonio Moreno,
Gareth Hughes and Kathlyn Williams.
Bert Lytell Fan. — You are right, that
was Barbara La Marr and not Alice Terry
in "Trifling Women."
Myrtle L. - — I understand Harrison
Ford is again the husband of Beatrice
Prentice. May they never separate. He
is playing in "Little Old New York."
Dorothy Mackill in "The Fighting Blade"
with Richard Barthelmess. Yes, he is five
feet seven.
Helen J. — That's right, someone once
said "Woo the widow whilst she is in
weeds." Katherine McDonald is twenty-
eight, and she is married to Arthur John-
son. Madge Bellamy is nineteen and not
married. Playing in "Evangeline."
Clifton. — You just write in for the
September 1918 and September 1919
Classics.
Vivian Van.— It is very probable that
Job never had to answer questions. You
want a picture of Gloria Swanson's baby
in the Classic. Yes, her name is Gloria
Somborn. Betty Compson twenty-five, and
John Gilbert in "St. Elmo." You're wel-
come indeed.
Two Heap Big Fans. — Do not con-
found great workers with ordinary plod-
ders. Bebe Daniels hasn't bobbed hair.
Just pronounce it Bee Bee. All right,
send along the custard pie. Wallace Reid
played in "Joan the Woman" with
Geraldine Farrar. Fiance is masculine and
fiancee is feminine.
Ethel E. D. — Yes, Kenneth Harlan is
twenty-eight and born in New York City.
You want to see Charles Meredith in more
pictures.
Newberry Maid. — Hello there. Your
letter was filled with beautiful sentiment.
Monte Blue was born in Indianapolis and
you can reach him at Warner Brothers,
Bronson Avenue and Sunset Boulevard,
Los Angeles, Cal. Write to me again.
Frank Mayo Fan. — Pauline Garon is
five feet and weighs one hundred and five
pounds.
Christiane C. — You are entirely in er-
ror when you say that I snore. I have no
small vices. Address Richard Barthelmess
at Inspiration Pictures, 565 Fifth Avenue,
New York City. Lewis Stone in "The
River's End." Alice Calhoun, Cullen Lan-
dis and Percy Marmont in "The Alibi."
Miss Lois N. — Why Marion Davies
lives on Riverside Drive, but you can ad-
dress her at the Cosmopolitan Studio, 2478
Second Avenue, New York City.
Chick M. — Oh, but there are beautiful
flowers that are scentless, and beautiful
women that are unlovable. Nazimova is
forty- four and Antonio Moreno has brown
eyes and hair. Bebe Daniels has blue eyes.
Houston Bill. — Shake Bill. Glad to
see you. Madge Bellamy is only nineteen
and Patsy Ruth Miller is also nineteen.
Clara Horton is twenty. Tom Mix is
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:. , i al,
Eva. Yes, I should have answered you,
lint you * I « iiit seem to realize all ili<- quea
limis 1 receive. Why donl you wril
Mi>s Brady, sl't will be glad to hear from
you. Paul Willis is not playing now.
Hasn't been for some time. All right, I'll
try i" straighten you out on the M
brothers. Tom was married to Alice
Joyce, but is now married to Renee
Adoree. Owen was married to Mary
Pickford, Inn is married i<> Kathryn
lYi i > now. Joe was married to Grace
Cunard and Matt is not married. Oh yes,
there really is nothing finer in music than
the opera "Samson and Delilah." You
want to know what Taniar Lane is? Well,
iii my estimation he is a very good looking
young chap. Stud me your picture in that
dress. So long, little Eva.
Jeanne.— Thanks a lot. Leatrice Joj
was born in New Orleans.
Grky Eyes.- Darkness has its uses; we
can see farther in the night, for arc not
the stars nunc distant, than the sun? And
you dont care for Pola Negri. Claire
Windsor in "The Eternal Three." Gloria
Swanson in "Zaza." Rod LaRocque and
Eddie Burns in "Jazzmania."
Mrs. J. B. — Always glad to hear from
the manias. Dont send the twenty-five
cents to me, you would never see it again.
Send it direct to the players for their
pictures.
KaYE H. — Have passed yours along to
the editor.
WlLMA Y. — To a woman, the romances
she makes are more amusing thtn those
she reads. Yes, Mahlon Hamilton was
interviewed in the April 1921 issue of
the Motion Picture Magazine. Agnes
Ay res in "The Love Chase." Oh, I dont
mind answering questions. I turn them
out by the yard now.
Madcap. — I can see you are all for
Gaston Glass. Jack Holt and Sigrid
Holmquist in "A Gentleman of Leisure."
Marguerite Courtot in "The Steadfast
Heart."
Spark Plug. — Your letter was mighty
interesting and I wish I could print it.
Tillie the Toiler. — Thanks for yours.
Sazzy Susie. — Yes, and Friendship is
a plant that one must often water. Yes,
May McAvoy intends to go on the stage
this fall. Bert Lytell is playing in "The
Lone Wolf" series, for Cosmopolitan.
Lillian Gish is two years older than
Dorothy. Marion Davies with Cosmopoli-
tan, Jackie Coogan will be nine ; Wallace
Reid was thirty-one. Gloria Swanson is
five feet three. Xo, they are not the same.
Whew] You sure do answer questions,
dont you.
Madeline Mary. — My real name you're
after, is it? Hump! Yes, I like your
stationery. It is very smart. Chic! Yes,
you were born the same day that Richard
Barthelmess web. Eugene O'Brien was
horn in Denver thirty-nine years ago. Mil-
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Barbara La Marr married to Jack
Dougherty.
Miss Question Mark; Mildred T. :
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Flashes From the Eastern Stars
{Continued from page 51)
Mensch," by Ernst Teller; an Ameri-
can play not yet selected, and "Lear,"
with Rudolph Schildkraut.
Commodore J. Stuart Blackton is
making preparations for the first of
the Blackton Productions which will
he released by Vitagraph. It is un-
derstood upon good authority that
Commodore Blackton will produce at
the Brooklyn studios of Vitagraph
where he made the Blackton Produc-
tions which became famous for their
exceptional artistic as well as box
office values.
Charles Dillingham has returned
from London, Paris, Vienna and
Budapest with a bundle of new plays
and novelties for his theaters — the
best that the market afforded in Eng-
land and on the Continent.
"Before buying any foreign play,
I obtained the famous 'Italian Mari-
onette Players,' " said Mr. Dilling-
ham. "These marionettes are a form
of art which allows of great scope and
assures the interpretation of the au-
thor's intentions, only they are not so
wooden as many of the unionized
American actors. They are the one
great novelty of the London season,"
he insisted. "This is a troupe of
more than five hundred marionettes,
with a repertoire of some twenty-five
operas, innumerable burlesques,
ballets and vaudeville acts. The
musical settings are by Rossini,
Csesar Cui, Donizetti, Mazzenet and
Ottarine Respighi. The Teatro del
Piccoli is an expressive of the soul of
Italian art as is the Russian ballet of
the soul of eastern Europe."
Sam Wood is seeking a beautiful
girl, professional or amateur, to play
the leading role in a new picture
which he has already started at the
Paramount Long Island Studio. It's
getting to be a serious matter with
him, for he has been searching for
weeks without being able to find the
type he wants. He felt he couldn't
delay production any longer and has
begun work without her. The role is
that of Diana Kayne, in a screen
version of Arthur Train's story, "His
Children's Children." Two additions
were made last week to the cast.
They are Mary Eaton of the Follies
and Hale Hamilton, star of both
stage and screen. Mary Eaton will
be starred in the fall by Flo Ziegfeld.
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^■iT"p«r~7',I Jewels — Cased in a 26 year Gold
■bK\w StrataCase. Only Jl down will
' B >^~^^ brinp you this masterpiece.
^^^^^■^tT"""^ Write today for free book to
VDOWll Burlington Watch Company
19th St. & Marshall Blvd.. Dept. 12 76. Chicago, III.
Meyer Both Company, the largest
Commercial Art Organization in the
World, offers you an unusual opportunity for
practical training. If you like to drawdevelop your talent.
Study this practical course— taught by the nationally
known Meyer Both Company, with twenty-two years suc-
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over 15,000 commercial drawings.
Our teachers give you the double advantage of being in-
structors of proven ability, as well as artistsin this widely
known organization. Meyer Both instruction is the
difference between success? u 1 factand experimental theory.
Commercial Art Is a highly paid, intensely interesting
profession, equally open to men and women. Home
_ study instruction.
Gel Facts Before You Enroll in any School.
Ask the Advertising Manageroftheleading
newspapers in your city, anywhere in
the United States. Canada. England
or Australia about the Meyer Both
Company — let them tel lyou about us.
Write tor our illustrated book "YOUR
OPPORTUNITY" — tor one-half the cost,
'mailing — fourceDtsin stamps.
MEYER BOTH COMPANY ,
Department of Art Instruction
Mithigan Are. at 20th St., Dept. 55, CHICAG0.1I
NOTE — To Art and Engraving
Firms: Secure practical artists
, among our graduates. Write us.
lbook"Y'OUR
le-half the cost
PANY A
ction ^fl
■■■' .^8 1
(Eighty-eight)
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popularity and personal satisfaction. You arc wel-
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It is the >ne instrument anyone can learn to play -
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A Wonderful Entertainer
The Saxophone is the most popular instrument for
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FREE Trial — EASY Payments
You may try any Buescher Saxophone, Cornet.
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Send for free Saxophone Book or complete catalog, men-
tioning instrument in which you are interested. c89)
BUESCHER BAND INSTRUMENT CO.
Y FvrythinQ in Band and Orchr.ttra Atatrw
2069 Buescher Block Elkhart, Indiana
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I BOX CONTAINS 14 TREATMENTS
at druggists, or send S3, plus 25c for postage
and packing {Canada St. and free booklet to
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NO DIET-' NO DRUGS 'NO EXERCISE
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ALVEENE SCHOOL
sORAMATOC ARTS
TOaEiS"^ IN ONE- Pf^CTKAL STAGE
TWINING. THE SCHOOL'S STUDENTS STOCK •»
THEATRE Af FOOD PUBUC STAGE APPEARANCES
™™i« otilnj menloninj study eiesired to Secretary
ALVIENE SCHOOLS, Suit. 17
„ . _. *3 West 72nd Street
Bet. B'wsyaOntral Park Weel. New T
(Eighty-nine)
i**ii during tin- last few da) !
and a ncv\ screen idol maj soon !»<■
mm uitecl i rom the pugilistii
( Cosmopolitan i^ Riming lit Wit
wer's popular fighl story, "Cain and
Mabel," featuring Anita Stewart
The script calls for a boxer a> one
of the principals, and Casting Dire<
tor Gnrencc Elmer is devoting his
entire time t<> interviewing ring gladi-
ators. Among those who have al
ready admitted that they are ready to
take the count in the picture are : Jack
Britton, ex-welterweight champion;
George Ward, welterweight
tender; fohnny Basham, lightweight
champion of England; Clay Turner,
the Indian fighter, Danny Frush and
( rene 1 Jelmont.
Two masked bandits broke into a
United States mail train on the Rari-
tan River Railway two miles beyond
South Amboy, X. J., last Sunday.
( )ne of the desperadoes escaped and
the other is thoughl to have lost hi >
life in the South River when he
leaped from the speeding train with a
mail pouch. A mail clerk dived into
the river and rescued the mail. The
attempted robbery was staged under
the supervision of the United States
Post Office Department. Colonel
Paul Henderson. Assistant Postmas-
ter General, and Major James A.
Buchanan, chief of the Bureau of In-
formation, provided the means by
which to stage the mail robbery.
They were co-operating with Whit-
man Bennett, producer of "Loyal
Lives." a thrilling romance of the un-
sung heroes who protect the United
States mail — the postman and the
railway mail clerk. It will be released
by Vitagraph and is the first of six
pictures Mr. Bennett will make for
them.
( rlenn Hunter is at work on "Grit."
his last picture for the Film Guild.
Clara Bow, one of our Fame and
Fortune Contest winners, will play
opposite him. She has signed a con-
tract with the Film Guild.
"Success." a play by A. A. Milne,
will be seen next season with Nor-
man Trevor in the leading role.
Herbert Brenon has arrived in
Xew York to make preparation for
his next Paramount picture. "The
Spanish Dancer." with Pola Negri as
the star. It will be based on the fa-
mous play "Don Caesar de Bazan. '
Mr. Brenon has been visiting art gal-
leries and museums in Xew York.
Boston, and Philadelphia, and inter-
viewing several authorities on the
Spanish customs and dress of the
period in which the story is laid.
EARLE E. LIEDERMAN
at he It to-day
Some day
a little bug
is going to get you—
hav. there ai 1 1 • 1 rYiTv.vli. n\ Ttuy ar**
In the air. In your hx*! ind the • I
drink. In fart. scientist* t-uy ><nir body b full of
them. Tin > in only wfaittng for ><>ur vitality to
.iml then liny arc K"hig to feJ you.
Hut wimt doea a strong, healthy man car* about
all thlsl On. e tin-si- terrible aerna find your lung*
breathing deep with ngygeri and your heart pump-
ing rich, red hl-wid. they arc going to nin f' r their
Hv.s. ,\ dJseaM k' nn baa •>-< mudi chance In a
healthy body as a fly has In a spider"-.
Food Was Meant to Eat
I don't ash you lo affB up all the k,m«I things In
life. I make you tit to enjoy them Everything
was made with some pari I ffM m- ant
to eat and a healthy man has I
tying, his Keen ap|>etlrv. A man who U
proper exercise craTea f"*Ki and must hare 1l
water was meant to bathe with -both ittsbb- and
out Hy drinking plenty of ".iter yon resBOfl the
waste matter within, just ai vaanln| yon skin re-
DlOfeS the waste matter without.
I MAKE MUSCLE
I am not a doctor— I don't claim to cure disease.
That Is a physician's job. Hut follow my acrrloa
and the doctor will starve to death w,
to take sick. I build strength and endnra
make mutcle; I How my Instructions and yog
will increase your arm one full Inch In thirty days
and put two Inches on your chest in use
same length of time. But that Is only a Starter.
Meanwhile. I work on those Inner
rounding and other vital organs which
affect your entire physical being. Too sr!
feel the thrill of life puiglng through youi
Vou will have pep In your ol I
will be a Hash bo your eye ami a spring I
i*OU will radiate vitality an.l ha
ody to put n fvi t. I don't promi-
thlngs I guarantee thei • and make me
"hat I Ilk'. know I
can do if.
Send for My New 64-Page Book
"MUSCULAR DEVELOPMENT"
full- ['age photocr.t,
myself !
orer n present
phyalqui
plrathm to : 't. rough
and through. All I
of wrapping and mailing and It
Thi- win not ai all. but for the sake of
\<>ir future health
.•-end today— r .1:1 this page.
EARLE E. LIEDERMAN
Dept. 1809, 305 Broadway, New York City
EARLE E. LIEDERMAN.
Dept. 1 809, 305 Braadway. New York City
•» for wMr-h
\ .'ii ar. wiflnmt any obligation on my
I'»rl «! latest Injo*.
iular Diviloiimcnt." (I'kasc srrlte or print plainly.)
Name
State
Doesn 't hurt the
skin a particle
Embarrassing Hair All Gone
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AMAZINGLY simple, easy, quick, pleasant and sure
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Kilrute Lotion will gradually devitalize the glands
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To Prove It To You
The makers of Kilrute guarantee absolute
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ombination treatment with full directions
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simply fill out and mail the coupon. The T
> of the complete treatment is $5.00.
News of the wonder-
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has caused such an
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ohliged to discon-
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free trial samples,
hut we shall he
happy to give FREE
DEMOXSTU AT ION
or full treatment
with charge at above
address.
SendNoNc
o/?e,
W-
Owing to pos-
tal regulations,
post office mon-
which you pay the postman on deh\ ^. .,
If for any reason you are not complete-
ly satisfied your $5 will be refunded.
KILRUTE COMPANY
Dept. 1009
247 West 72nd St.
New York City
I KILRUTE COMPANY,
, Dept. 1009. 247 West 72nd St., New York City.
■ Gentlemen:
Please send me on approval a complete Kilrute
Combination Treatment for superfluous hair (Kilruta
Ponder and Kilrute Lotion) which you guarantee to
remove external hair immediately and to discourage
any future growth. I will pay the postman $5 plus
postage on delivery. If I am not perfectly satisfied
I with the results, you guarantee to refund my $5.
fi (If you prefer, send $5 with this coupon, subject to
1 above money-back guarantee.)
\ Name
j Address
:_„-j
$195 PER CAT
From 1-8 Carat to 2 Carats
Former Price, $325
You Save 40 per cent
1 If yoa can duplicate
I these diamonds for _
less than $326.00 - ^
per Carat, we/
I will RETURN/
YOUR
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30
DAYS I
FREE WEAR |
Genuine, spark-
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solid white sold rings.
CATALOG FREE
It gives raluable information about
diamond weights and grades which you
should know before buyintr. and oners
a jewelry store full of bargains to select
from. Money back guarantee bond with each
diamond.
B.GU7TEIUS0NS fiJS
172 NASSAU ST..Pept. 1074. New York
UNLUCKY?
Then wear this Mystic
Serpent. Replica of
Ancient Hindu charm
nst evil spirits.
eickn
symbol of GOOD LUCK in love, busi-
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ling. Genuine 14-Karat gold shell, 3
year guarantee. Men and Women.
Secret "formula for luck" FREE.
Send measure (string tied around fin-
ger). ALI G. BABA, Box 55, 116
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postage to postman on delivery.
ART PHOTOS
STUDIES
BEAUTY OF NATURE
Post-card Size and Larger Size- Great Collection. Splendid
Samples for SI. l)O-S3.00-$6.O0. Write
EDITIONS O'ART at NEUILLV-PLAISANCE CS & 0), France
SLEEVELESS GOWNS AND
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and present craze for dancing haa
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M O DEN E has stood the test and
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MODENE MFG. CO.. CINCINNATI. O.
Enjoy the luxury of perfumed water of silky softness
The utter luxury of the bath when Itathasweot has been sprinkled in it cannot be de-
scribed, it must be felt. The caressing softness of the water, its dainty stimulating
fragranre are a delight you, too. will love. And it is just as pood for your skin as it
is delightful. You Bitot try it. Your drug or department store sells Bathasweet,
ie. 50c, $1.00. Or we will send you a miniature ran for only lOe.
THE C.S.WELCH CO., Dept. AB4, New York City,
The Celluloid Critic
(Continued from page 45)
house as a group of incompetents.
They notice her departure, but never
think of following her.
Meanwhile there is a melodra-
matic flair when an escaped convict
is determined to exact vengeance
against the judge for sending him up
the river — and the girl aids him to
escape. The introductory scenes are
by far the best — particularly the one
featuring the prison delivery. But
the picture becomes tiresome and
dull and falters toward its conclu-
sion. A discrepancy creeps out
when the immaculate hero journeys
down to Cherry Street attired in
evening clothes and a top hat. As if
he were slumming!
The acting of the three cronies is
entrusted to Claude Gillingwater,
William H. Crane and Alec Francis.
All give mellow performances with
the first mentioned surpassing the
others. Eleanor Boardman's hero-
ine is easy upon the eyes but ber in-
terpretation merely skims the sur-
face. Careful editing would improve
the picture, which despite its short-
comings contains a few appealing
moments.
ANY picture carrying as its theme
the evils of dope is not ex-
pected to prove very enjoyable
entertainment. But because it pre-
sents a terrific indictment of the
drug habit and is offered as a sin-
cere attempt to diminish the scope of
this terrible evil, "Human Wreck-
age" (Film Booking Offices) will
earn encomiums, regardless of the
fact that many will consider it made
for commercial purposes. It tells a
story recognizably real, touching the
high places as well as the low places
in the social scale, thus revealing
that no one is immune from the
deadly influence of narcotics.
The continuity doesn't always be-
have. There are times when lesser
characters are neglected entirely to
give emphasis to the major plot —
which concerns a powerful attorney
becoming addicted to morphine and
causing his wife untold anguish, un-
til she is unable to cope with the vice
and is about to become an addict
herself, when her husband, realizing
the terrible consequences, shakes off
the grip of the drug.
Mrs. Wallace Reid has doubtless
employed her own personal experi-
ences with other persons afflicted
with the craving for narcotics — and
the story which involves her is much
more genuine than the by-plots con-
cerning characters from a lower sta-
tion in the social scheme. Yet these
(Continued on page 94)
(Ninety)
i
Gas or
Electric
Ilii: Lamp-
Comes equipped for choice
of gas or electricity. Has 2-
light Benjamin socket for
electricity only, with 8-foot
silk cord ready for use; or
comes with 6-foot rubber
hose, burner, mantle and
chimney for gas.
Mahogany Finish
Standard is 60 in. high, 3 in.
in diameter. Highly polish-
ed French mahogany finish.
I^Shade-
Made in Fifth Avenue de-
sign, 24 in. in diameter, of
delft blue silk, shirred top,
alternating plain and fancy AM'
art silk panels. Twelve
panels in all, tinsel braid
border, with four inch Chenille fringe.
American beauty shirred lining. The
harmonious color scheme gives effect
of red light shining through a blue
haze — a rich warm light. Shipping
weight, 27 pounds.
Marshall Silky Fringe Pull-Cords
Also pair of Marshall silky fringe cords
with 3Vi in. silky fringed tassels, giving
an added luxurious effect.
For gas use, order by No. G6332NA.
For electricity, order by No. G6333NA.
Send only $1 with the coupon, $2
monthly. Total Bargain Price for lamp
and shade, $19.85.
Free Bargain Catalog
Shows thousands of bargains in home
furnishings: furniture, jewelry, rugs,
curtains, phonographs, stoves, dishes,
aluminum ware, etc. All sold on easy
terms. Catalog sent free, with or
without order. See the coupon.
Down
Brings
This
Floor Lamp
5t;:Ze. Silk Shade
Here is something you have always wanted — a beautiful floor lamp
with handsome and elegant Fifth Avenue silk shade — to add an extra
tone of elegance and luxury to your home. On this generous offer
you can see just how this floor lamp and silk shade will look in your
home, without risking anything. Send only $1.00 with the coupon
below, and we will send it complete to your home on approval, equipped
for use with either gas or electricity. We take all the ris!\
30 Days Trial
s2£2 a Month
When the lamp outfit
comes, use it freely
for 30 days. See how
beautifully the colorings of the handsome silk shade blend and har-
monize with everything in the home. How useful it is, too — so handy
for reading, can be moved around with ease to furnish a beautiful light
and rich warmth and coziness to any room in the house. If after 30 days trial you
decide not to keep the lamp, just return it at our expense and we will refund your
$1.00 deposit, plus any freight or express you paid. You cannot lose a single penny.
If you discover that this
lamp is a tremendous
bargain at the price
we ask and you decide to keep it, send only $2.00 a month until you
have paid the total bargain price of $19.85. Yes, only $19.85 for this
luxurious lamp and silk shade complete. Compare this value with anything you could
buy locally at anywhere near the same price— even for spot cash! Straus &Schram
gives you this bargain price and almost a year to pay. We trust honest people any-
where in U. S. No discount for cash; nothing extra for credit. NoCO.D.
Price Slashed !
Decide now to »ee this beautiful floor
lamp and silk shade in your home on
approval on this price smashing offer. Think how the nickels and
dimes slip away for useless things; save them for something worth
while that will give satisfaction for years. Send coupon with only
$1.00 now! Satisfaction guaranteed.
STRAUS & SCHRAM, Dept. 1516 Chicago, 111.
MAIL THIS COUPON NOW! gS$?< ,& scchhr,^co
Enclosed find $1.00. Ship special advertised Floor Lamp and Silk Shade
as checked below. I am to have 30 days free trial. If I keep the lamp,
I will send $2.00 a month. If not satisfied, I am to return the lamp and
shade within 30 days and you are to refund my $1.00 plus any transporta-
tion charges I paid.
□ Gas Floor Lamp No. G 6332NA, $19.85.
J Electric Floor Lamp No. G6333NA, $19.85
Send Coupon NOW!
Name
Street. R. F. D.
or Box No
Shipping
Point ....
!!'
Post Office State
If you want ONLY our free catalog of home furnishings, mark X here D
( Ninety-one)
'. Si
Freckles fade
while you sleep
No other beauty treatment is
as easy and effortless as remov-
ing freckles with Stillman's
Freckle Cream.
Simply apply it before retiring. While
you sleep the freckles gently fade
away, bringing back a clear white
complexion. Safe and sure — in use
since 1890. Look for the purple and
gold box. On sale at all druggists in
50c and $1 sizes.
Write for "Beauty Parlor Secrets"
Just outl "Beauty Parlor Secrets,"
a booklet giving the details of expen-
sive complexion and hair treatments,
enabling you to enjoy them at home at
low cost. Illustrates the fine points of
make-up. Sent free. The Stillman Com-
pany, 3 Rosemary Lane, Aurora, 111.
Stillman's
Freckle Cream
"DONT SHOUT
| "I hear you. I can hear now as '
fc wellasanybody. 'How?'
With THEMORLEY
f PHONE. I've a pair in my
ears now, but they are invisible.
I would not know 1 had them in
myself, only that I hear all right '
heMorley Phone forthe
D EAF
i is to theears what glasses
are to the eyes. Invisible,
comfortable, weightless and
harmless. Anyonecan ad-
11 just it. Over one hundred
thousand sold. Write for booklet and testimonials.
THE MORLEY CO., Dept. 792. 26 S. 15th Street. Phila.
Malvina/t«
CREAM *
For the Complexion
— for Freckles
— for the Skin
Originated by Prof. I. Hubert
Popular Since 1874
Sold by leading deal
era everywhere. If your
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money-order direct.
Write today foi free booklet,
"How she Won a Husband," in-
cluding testimonials and beauty
hints.
PROF. I. HUBERT
Dept. 793 Toledo. Ohio
i-niir \
'Prices:
Lotion 56c
AU$1.40
Postpaid
Send
>rder j
Greed
{Continued from page 56)
Trina began to cry, remembering
ber cold-blooded selfishness and what
he had done to ber at the same time.
She piled the gold back into its bag
and locked the trunk. The key she
wore in a tiny chamois bag around
her neck.
At the kindergarten the next day
the children were decorating for their
Christmas celebration. It was four
o'clock and the early winter dusk had
set in. Everything was ready but the
Moor. The children went home anil
left Trina to do the scrubbing. As
she sloshed around in the dirty water,
she thought of her gold at home, her
bright, clean, shining, gold. She
wrung the mop dry for the last time
and was terrified to see McTeague
enter the room. He had been drink-
ing.
"Wha-what do you want?" she
gasped.
"Your five thousand."
"I haven't got it. Uncle Oelber-
man still has it."
"You lie. I've been to him."
"I'll give you half "
"No. Every damn cent of it."
Trina did not reply. She slipped
past him and managed to lock him in
the room. He broke the lock without
any difficulty and followed her to the
cloak room. He took her by the
throat and pressed his broad flat
thumb into its soft throbbing white-
ness. She made a funny litle gur-
gling sound and started to struggle.
Presently he staggered out of the
dark cloak room and shut the door
gently after him.
At home he took Trina's little key
and unlocked the trunk. He cursed
the heavy load. He cursed the avarice
that had demanded gold instead of
bills, but he stuffed the canvas bag
in the top of his trousers and went
away. In the morning he was back
at the Big Dipper Mine where he had
worked as a boy.
In the morning the children coming
to school in little chattering groups
walked happily toward the cloak
room. A black cat was sniffing at the
door, curling its tail. They opened
the door, and ran back screaming.
They could see a little white hand
with only two fingers on it, out-
stretched in its last mute and futile
supplication.
One night McTeague awakened
with a fear he could not define. "I
dont see nothing," he muttered, "I
cant hear nothing, but I feel some-
thing. . . ." He lay down again
but he could not sleep. The Mc-
Teagues of the world can always
sleep and the fact that he couldn't,
filled him with a grim foreboding.
The Spell
of Moonlit Eyes
Murmuring trees and distant music, a moon-
lit road that for you and for him is an en-
chanted highway of romance. Do your eyes
hold him spellbound? They will if shadowed
by lashes that have been darkened with WINX.
Applied with the glass rod attached to the
stopper, WINX makes the lashes appear longer
and heavier. Dries instantly and lasts — harm-
less and waterproof.
Winx (black or brown) 75c. To nourish lashes and
promote growth, use colorless cream Lashlux at night.
Cream Lashlux (black, brown or colorless) 50c. At
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Name
Street and No.
.State
I If pat ked Up lii^ UK .f.;i i lliii.-.- ami
the l ild and left w ithoul in
ado.
Two daj s later the sheriff and
deputies inquired at the mine foi
Mc I i ■ . i <; 1 it ■ .
Mc lii "it tlic freighter ai
;i little tow ii far dov\ n the line. There
he fell in with ;i man named Criblx
They formed a pai tncrship and went
prospecting in Death Valley for gold.
Miraculously they found it and
staked their claim. Their mine they
called "The I ast ( "hance." A new
life began for Mel eagiie.
A notice was posted in the desert
for ilic arrest of McTeague wanted
for murder, offering one thousand
dollars reward. Marcus Schouler, as
malign as fate, one day read the
poster. He offered himself to the
sheriff as a means of identifying Mc-
Teague. He further adorned Ins tale
by saying that the five thousand Mc-
Teague carried was stolen from him.
The sheriff and his posse, including
Marcus, set mil over the desert.
At midnight McTeague woke again
suddenly, lie fired his Winchester
in the air. "Aw, show yourself, will
vim ?" he cried inexplicably. Cribbens
sat up in surprise. McTeague was
wiping the sweat from his white face.
eery by starlight. "What in hell's
the matter with your" Cribbens
wanted to know. At dawn Mc-
Teague was gone and the posse
arrived. But they refused to go in-
to the desert — only Marcus, who
dreamed of the gold, followed.
On the desert McTeague's mule
dragged his feet wearily thru the hot
sand. Foolishly McTeague had
emptied his canteen at one draught.
More foolishly still he had tied his
bag of gold to the mule's hack and the
mule had eaten some loeo weed. Mc-
Teague lay down beside the beast and
went to sleep. He was awakened by
the sinister "Hands Up," of Marcus.
Indifferently, McTeague complied.
"Water," said Marcus weakly.
"Gone," replied McTeague.
"The money," whispered Marcus,
his tongue hanging out like a dog
panting.
"On the mule." McTeague an-
swered, as tho it didn't matter to him
what became of it.
Marcus jumped toward the mule,
which ran skittishly away. Both men
started after it and Marcus drew his
gun and shot it. As the animal fell,
the gold pieces slid out of the hag in
amazing brightness. McTeague
lunged toward Marcus and in a triee
Marcus had clamped the handcuffs
to him.
Now they begin to argue about
the possession of the gold. They for-
get there is no water, and that they
(Continued on facie %")
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Asthma
.Hay Fever
Obesity
Headache
Thinness
Rupture
Lumbago
Neuritis
Neuralgia
Flat C
Deformity
.Successful
Marriage
Plmple>
. Insomnia
..Short Wind
..Flat Feet
. .Stomach
Disorders
. .Constipation
. .Biliousness
..Blackheads
. .Torpid Liver
. . Indigestion
. Nervousnevt
, Poor Memory
. . Rheumatism
. . Manhood
Restored
. Vital Losses
. I m potency
. Neurasthenia
Dlabrtei
Prostate Troubles
. Female Disorder,
. Increaied Height
. Youthful Errors
Falling Hair
. Weak Eyes
. Gastritis
. Heart Weakness
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(Ninety-three)
PREFERRED PICTURES
UJVew factor in (Motion ^pictures
Preferred Pictures, in one short year, has
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motion pictures.
PREFERRED PICTURES was organized
and developed by men, young in years,
but veterans in experience, whose recog-
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writers and stars of the first magnitude.
Directing Preferred Pictures are
GASNIER TOM FORMAN
and VICTOR L. SCHERTZINGER
These men have risen to the top because
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Contributing their talents are stars who have
brought pleasure to millions. Preferred stars
are used to translate each story in its finest
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The casts of Preferred Pictures include such
names as
Kenneth Harlan
Gaston Glass
Ethel Shannon
Barbara La Marr
Colleen Moore
Lon Chaney
Madge Bellamy
Miriam Cooper
Claire Windsor
House Peters
Ruth Clifford Josef Swickard
Joseph Dowling Myrtle Stedman
Florence Vidor Edith Yorke
Raymond Hatton David Butler
Stuart Holmes Rosemary Thehy
Walter Long Edith Roberts
Truly Shattuck Harrison Ford
Estelle Taylor Miss du Pont
Lloyd Hughes Frankie Lee
Zasu Pitts Russell Simpson
Tom Santschi
Marguerite de la Motte
In developing its program for the coming
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to maintain its high standards and to present
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PREFERRED PICTURES are sho<wn in your city.
Call up your Favorite Theatre and ask "WHEN?"
Distributed by
PREFERRED PICTURES CORP.
AL LICHTMAN, President
1650 Broadway, New York
9
PREFERRED
PICTURES
Produced by
B. P. SCHULBERG
Coming
"The Broken Wing"
by Paul Dickey and Charles
W. Goddard.
"Mothers-in-Law"
by Frank Dazey and Ag-nes
Christine Johnston.
"The Virginian"
by Owen Wister.
"April Showers"
by Hope'Loring: and Louis D.
Lighton.
"Maytime"
by Rida Johnson Young-.
"The Boomerang"
by Winchell Smith and Victor
Mapes.
"White Man"
by George Agnew
Chamberlain.
"Poisoned Paradise"
by Robert W. Service.
"When a Woman
Reaches Forty"
by Royal A. Baker.
"The Mansion of
Aching Hearts"
by Harry Von Tilzer ami
Arthur J . Lamb.
"The Breath of
Scandal"
by Edwin Balmer
"The First Year" (of
married life)
by Frank Craven.
"The Trlflers"
by Frederick Orin Bartleit.
"Faint Perfume"
by 2ona Gale.
"My Lady's Lips"
'^Ipw Showing
"Daughters of the Rich"
"The GirlWhoCameBack "
"Are You a Failure?"
"Poor Men's Wives"
*"The Hero"
"Thorns and
Orange Blossoms"
x"Shadows"
"Rich Men's Wives"
* Placed by Robert E. Sherwood,
critic of LIFE, on bis list nt th,
fifteen best pictures of the year.
The Celluloid Critic
{Continued from page 90)
people in their efforts to peddle the
stuff and the consequences of their
acts show that they are not far over-
drawn. There are five or six deaths
— some of which are violent — which
make the majority of scenes harrow-
ing indeed. But one is not looking
at sweetness and light in an expose
of the drug evil. Many will profit
by the picture and naturally will
watch their steps. The peddlers and
addicts will on the other hand not
be attracted to it, for its evils are too
sharply emphasized.
A word for James Kirkwood. As
the attorney he gives a highly effec-
tive study of human suffering when
he becomes an addict. And George
Hackathorne as a character in the
clutches of "coke" brings a sharp
touch of realism to the role. Mrs.
Wallace Reid is sincere and earnest
in her portrayal of the wife. Hav-
ing dedicated her life to save others
from this terrible affliction, she suc-
ceeds in bringing value to the picture.
BAYARD VEILLER'S crook
melodrama, "The Woman with
Four Faces," (Paramount) car-
ries a teaser title which will attract
curiosity. The curious, however,
once they are in their seats, will sec
a likely story which has been com-
petently executed by Herbert Bre-
non, the director, even, tho the
author (he should have known bet-
ter) has allowed an array of incon-
sistent episodes to mar his work.
Imagine a quartette of crooks put-
ting the papers in a safe instead of
destroying them ; imagine a district
attorney using a personable girl,
gifted at disguise and masquerade
(hence the title), to gather the evi-
dence ; imagine this same prosecutor
employing an airplane to lift a con-
vict from a prison yard so that he
might crack the safe in which the
papers are hidden. The improbabil-
ities may furnish novelty, but they
also give it a pictury character. Di-
rected with speed and acted with an
assortment of expressions by Betty
Compson, who is at her best in crook
roles.
A
XOTHER Paramount, "The
Law of the Lawless," is an old
friend in a new disguise. The
girl who sells herself on the auction
block to wipe out her father's debts
has been treated upon the screen for
years. Here it serves in bringing
out a gypsy background, the locale
being somewhere along the lower
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opera figure. \nd t harles de R<
making his debut is coloi l< \m
one "i a d< >zen \m< fifted in
the saddle and i cqualh
■ I a physique could outshine the
frenchman. Even hia li u, 1 1 1 with
Koslofl when he would save the girl
he bought from a tempestui »u I at
tar lacks the vigor which Sills or fiv<
and seven others could imparl to it.
The bodj of the picture is taken
up u ith the heroine displaying spirit
against the indifference and a
man tactics of the gypsy, lt'> verj
old, very obvii itrs and very medii
CAPITALIZING upon a man's,
gift for expressing untold >ui-
fering is Lon Chaney's reward
these days. Ever since he was cata-
loged as the actor of a thousand
• arcs, the resull of his work in "The
Miracle Man." which picture, to-
gether with "The Penalt) ," showed
him ;i- unusually talented in portray-
ing a helpless cripple, his roles have
been marked out for him.
" I he Shock" i I miversal) pr< >-
vides him another opportunity to
show his skill at characterization in
the part of a crippled crook who
finds redemption thru the lovelight
in a girl's eyes. I if course he is
brought hark to health by means of
the shock caused by the Frisco earth-
quake. Ail interim he is saving the
girl from a roller and her father
from jail. Fairly effective and
Chaney's poignant humanities are
given lull latitude.
Trilby
(Continual (rum page 82)
Billie's career. Trilby! You must—
and
never
him
am-
ain away
mor<
"Trilby!" Little Billie groaned,
"Oh, my dear, dont run away "
A little later she whispered
Svengali's name. "He was— kind to
me. We were really married
too " with a piteous Hash of
pride, "so you can put — Madame on
icad -tone "
"Trilby," begged Little Billie,
"think of the old studio and tl>e good
times we had, think of the boulevards
in springtime with the llower carts,
and the cafes and theaters at night.
We'll sit in the gallery at the ( )pera
and hear the trumpets in ' Aida.' and
we'll buy sausages and daffodils and
little gold slippers for your feet- — ■
your beautiful feet. Trilby "
Trilby laughed a ghost of her old
gay laughter, "and I'll — sing-
And then the only sound in the
room was Little Billie's sobbing and
the rattle of the busses outside, taking
the tourists to Montmartrc in search
of its famous sin.
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Greed
{Continued from page 93)
are both dead men. A choking,
bitter, galling rage flares up in
McTeague and lie beats Marcus over
the head with the butt of his gun.
Marcus falls, dragging McTeague
down with him. McTeague tries
vainly to rise. . . . He cannot. . . .
He is handcuffed to Marcus. . . .
Now he sits staring at the poured-out
gold pieces touched into flame by a
cruel hot sun. ... A little bird lights
daintily on the head of the dead mule.
... It cocks its little head toward
the heap of gold. . . . McTeague
nods gravely . . . once or twice. . . .
Current Stage Plays
{Continued from page 6)
"Lightnin'." A comedy that crosses
your heart — the one that Frank Bacon
made famous.
"Sally, Irene and Mary." One of the
best musical shows that have ever blessed
the comedy stage.
"So This Is London." George Cohan
poking fun at American and British
temperaments. Not original cast.
"The Dancing Girl," a song, dance and
laugh fete.
"The First Year," a comedy about
"breakers ahead" on the honeymoon.
"The Passing Show," as usual a gor-
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"Whispering Wires," a mystery play
that raises the hair.
PHOTOPLAY HOUSES
Loew's N. Y. and Loews American
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Lociv's Metropolitan, Brooklyn. — Fea-
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Good music.
LIFE
By Dorothy Quick
Life, once I loved you, when I was young,
Nodded assent when your praises were
sung,
Trustingly yielded myself to your sway,
Followed your precepts day after day.
Now, I no longer am under your spell.
As i grow older I know you too well.
Know you will cheat me whenever you
can,
Break me or make me, just as you plan.
Life, I shall laugh at you when I am old.
Perhaps you will wonder what makes me
so bold —
And I shall answer you with my last
breath,
Mine is the triumph, tho victory means
death.
Let Arthur Murray
(The Vanderbilts* Instructor)
Teach You to Dance
Why Miss Half
the Fun in Life?
EVERYONE admires and wanta
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ARTHUR MURRAY
Studio 829 290 Broadway, N. Y.
■
Develops Busts Like Magic!
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J...J\ proof and literature (sealed) on request.
VI Writers. M Me. Sophie Koppel,
\\ Suite 903,503 Fitth Ave.. New York
WRITE FOR THE MOVIES
Ideas for moving picture plays wanted by producers.
Big prices paid for accepted material. Submit ideas
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ARE YOU BASHFUL, SELF-CONSCIOUS,
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sample assortment. Astei
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PHOTOPLAYS
ATTENTION, STORY AND IMIOTOI-I.Xi
WRITERS — The service you've been looking tor.
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VAUDEVILLE
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a week
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COMMERCIAL art is a n
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(Ninety-seven)
<\Iks Jwelij Slender
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This Beautiful Woman *Y0U
It is natural to be beautiful. Every woman is by
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Any patient who is tak-
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lablimhed t»U New York
Elinor Crlyn and
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To Adele Whitely
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I tie Jack Pickfords
at Home
A glimpse of the
home life of Jack and
Marilyn is given by
Harry Carr who vis-
ited them in their at-
tractive Spanish cot-
tage near Hollywood
where they are having
a second honevmoon.
Al
so-
Besides these two fea-
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This is a number that
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the
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MOTION PICTURE
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Often you meet a woman with vivid beauty that
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Bedtime Is Best
Your daily cleansing is best done at night,
•\
so your complexion may be revived and refreshed
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r Ar'-SS 1
cb
\
©n
^O
\
A BREWSTER PUBLICATION
A 1 ' - - ^
Z\[ature's Qreen
Palmolive takes its color from the
palm and olive oil blend which is
responsible for its mildness. It is
as much nature's own color as the
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Reflecting Beauty Seer
of the Pa
Women of ancient Egypt knew that cleanli-
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This gentle, thorough cleanser never leaves
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Never sleep without cleansing the skin.
i
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massaging the creamy lather well in.
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'
"«*•
Copyright 1923— The Falmolive Co. 1!>SG
Protect Yourself Against These
Sudden Embarrassments !
A chance meeting on the street, an unex-
pected invitation, a cup of coffer suddenly
overturned, an introduction to ionic person
of note these are the occasions that demand
complete self-possession, that demand calm-
ness and ease. Those who become flustered
and embarrassed under circumstances like
these, instantly betray the fact that they are
not accustomed to good society. But those
who retain a calm dignity, who know exactly
what to do and say, impress others with their
fine breeding and protect themselves from
humiliation
DO YOU know the comfort of being
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li is the most wonderful feeling in the
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The next time you are at a dinner or a
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if you can't pick out at once the pi
who are well-bred, who are confident of
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and know it. You will always find that
these people are the best "mixers." that
people like to he with them, that they are
popular, well-liked.
And then notice the people who are not
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Some of the
Blunders People
Make
At a certain thea-
tre, recently, a man
made himself con-
spicuous, through a
blunder that could
easily have been
avoided. He entered
a lower box with
two women — prob-
ably his mother and
sister. Without think-
ing, he seated him-
self on the chair that
one of the women
should have occupied.
The whole secret
of being always at
ease is to be able to
do and say what is
absolutely correct
without stopping to
think about it. One
should be able to do
the right thing as
easily as one says
"good morning."
\\ ould you have
known what seat to
take in the box ? Do
you know who pre-
cedes when entering
a theatre -the man
or the woman? Do
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you know who precedes when leaving the
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does not know how it should lie eaten
Some people do not
know that bread
must under no cir-
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into. Others make
the mistake of tak-
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their lingers. Still
others use the fin-
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Ib.w would yon eat
corn on the cob in
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For a Very
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A New Knowledge
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What many people
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Free Examination Offer
Have yon ever wondered "by ri.-.- Is thrown after
the bride, why a teacup i- given t" th.-
girl, why black Is the color of mourning?
Have you ever wondered what i
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for a wedding, a party 1
Perhaps there is some particular problem tl
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why not let ii* send you the two \"l - of tie
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study the arefully for '< full days and then if
you do not feel that they are ■ splendid Investment,
return them and we will refund your n
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not maintain a reduction liko this f..r anything bnl
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coupon to-day. and the original, authentic. ■ pli-te
Book "f Etiquette will be sen! t" yon by return mail.
Nelson Doubleday. Inc., Dent. 8210, Garden ■
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1 Nelson Doubleday, Inc., Dept. 8210,
Garden City, N. Y.
I without a eeal In ! me the
compl
.U limited b Wli.ii the
II will pay the pi
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ft if 1 so ind you will rofu-
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(rics.se write plainly)
Addn
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beautiful full-lrathrr binding si 5.
-.mil' return prlvl] .
mh with iir<l' i . I
(Three)
BARKLY THEATRE
gt.Kilda. Victoria.
Australia
THE MAGIC NAME IN ENTERTAINMENT
THE WORLD OVER
YOU whose lives are spent in one
locality may have a dim idea of
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at the same moment.
You who travel all over the United
States have seen for yourselves that
Paramount is always mysteriously there
ahead of you !
But world-travelers can add still
another chapter to
the story !
They know that
FAMOUS PLAYERS LASKYCORPORATION
AOOLPH ZLIKOR.Pws/Ant
Paramount's fame is blazoned through
every continent. It is no surprise to
them to see the familiar trademark
on theatres in London, Paris, Algiers,
Japan, or Australia.
In some far eastern communities
the name Paramount (perhaps the
only English term they know), is a
magic word because it means to
them just what it means to you —
"to-night's the
night for a great
show ! "
^Paramount 0*Uturvs
If it's a Paramount Picture it's the best show in town !
(Four)
1
<
COVER PORTRAIT— ALICE TERRY
Painted bj E. DaW
The Second Crusade, An Apologj and an Explanation 11
Our Portrait Gallery: Douglas Fairbanks, Peggy Shaw, Zazu
Pitts, James Kirkwood, Norman Kerry, Dorothy Dalton \1
The Camera Man's Angle, Mr. Bausch Lens talks to Harry Con- IS
Famous Heroines No. 1. (lain- Windsor as 1 hi Marry 21
Foreign Films, European 9tudios at a glance Maurice R
Divine Discontent, \n interview Faith s
Scaramouche, A character study of Ramon Navarro
Ashes of Vengeance, Fiction ... .Patricia
The Drama of the Decalogue, Pictures from De Mille's "Tin- Ten Commandments" .... 32
Elinor Glyn on the Technique of the Screen Ivery Strakosch 34
After Rembrandt, A poetic portrait of Richard Barthclnicss 35
The Promise Fulfilled, The winners of our contests who have left obscurity behind
"Fifteen Men on a Dead Man's Chest!"
The Powers Behind the Screen, The first of ;i series of live articles Stanton Leed
Hollywood Homes, Harold Lloyd and Mildred Davis 4<i
An Old Story, Vera Gordon's . .' Faith Service 42
Jean Arthur, Sauce piquante! 43
The Photographer Takes the Stage, Our theatrical department 44
Iris In, Pertinent and impertinent screen comment H. II. Hanemanm 40
The Celluloid Critic, Selects "Hollywood" as the best photoplay of the month Laurence Rcid 47
The Rime of the Ancient Ham, With apologies to Coleridge I H. Giebler 50
Blow Your Own Horn, Fictionized Dorothy Donnell .-<-'
Flashes From the Eastern Stars, Of the stage, on the screen Caught by the Edit,
On the Seven Hills of Rome, Beautiful and authentic "White Sister" backgrounds
Classic Considers The great and the near great 60
A Camera Study, George Walsh becomes an .esthete 61
The Hollywood Boulevardier Chats Horry Cat
The Movie Encyclopedia By The . Insvuer Man 70
iption $2.50 per year, in advance, including postage, in the United States! Cuba, Mexico and Philippine Islands. In Canada
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PRINTED IN U. S. A.
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Copyright. 1923, by Brewster Publications, Int., in the United States and Great Britain.
SUSAN ELIZABETH BRADY. Editor
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Harry Carr Western Representative
A. M. Hopfmuller Art Director
Duncan A. Dobie Director of Advertising
This magazine, published monthly, comes out on the 12th. Its elder sister, the Motion Pictvre Magazine, comes out on the
1st of every month. Skadowlahd appears on the 23rd of the month. BKAUTV is on the stands on thi S
Announcement for November
"Only in the little cave behind the camera do you come hack to the Occident . . .
for there you will find Raoul Walsh, the director . . . and Mrs. Woods, the technical
director, who has studied Bagdad until she knows more about it than Mohammed did.
"And there they sit . . . making the world's greatest fairy story."
Harry Carr
Do not overlook the story of Douglas Fairbanks' next picture in the November
Classic. It is screen history!
(Five)
I
If He Had Passed It Up
He Would Still Be A Laborer At $2 A Day. No
IVbney, Nothing Ahead But Hard Work, Longer
Hours— and Regrets. But He Didn't Pass It Up.
lit decided lo learn Mechanical Drawing. He buckled
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YOU NEED NO PREVIOUS TRAINING. The course
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What We Give You
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The following are a few of the many positions open in
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Roy C. Claflin, President
Dept. 2147. 14th & T Sts., N. W. Washington, D. C.
f ------- FREE BOOK COUPON ------- »,
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. Name J
! Address '
J City •
1 State Age '
Current Stage Plays \
{Readers in distant towns will do well to preserve this list for reference when these
spoken plays appear in their vicinity.)
"Tweedles"
"Rain"
"In Love with Love"
"7th Heaven"
"Merton of the Movies'
Ambassador. — "The Newcomers," a re-
vue depending upon the performers rather
than on setting and costumes. Will Mor-
risey does the Balieff stunt effectively at
times. The show falls short of the gen-
eral standard of Broadway revues.
Apollo. — "Poppy," a musical comedy
which marks Madge
Kennedy's first ap-
pearance in a musi-
cal show.
Ast or . ■ — "Dew
Drop Inn." A return
engagement o f the
lively musical
comedy, with John
Barton again the
hlack-face eomedian,
who shakes a
wicked foot and is
nobly supported by
Mooney, his dawg,
and a superb tango-
ing couple.
Booth. — "The
Seventh Heaven."
Hand-made on a
melodramatic pattern
in a Montmartre
tenement in Paris,
of an admixture of
love, regeneration,
humor and unreality.
An excellent per-
formance with Helen
Menken starring.
Broadhur'st. — "The Good Old Days," a
prohibition divertissement by Aaron Hoff-
man, with George Bickel and Charles Win-
ninger the contrary-minded gentlemen.
Carroll. — "Vanities of 1923," with
Peggy Hopkins Joyce leading the delectable
and innumerable vanities.
Casino. — "Wildflower," with lovely Edith
Day flashing thru an exquisite musical
score.
Cohan. — "Adrienne," a musical comedy
with an unusually good chorus. Billy Van
and Richard Carle, the latter of "The
Spring Chicken" fame, take care of the
laughs. Lou Lockett and Alargaret Ross
introduce a new dance, Adagio.
Cort. — "Merton of the Movies." In
which Glenn Hunter self-visualized as a
movie hero of the "great open spaces"
plays havoc with our emotions as an arch
comedian.
Elliott.— "Rain." A bitter tragedy by
Somerset Maugham ; a violent attack on
the repressions of Puritanism. Jeanne
Eagels is superb in the leading role.
Eltingc. — "The Woman on the Jury,'* by
Bernard K. Burns.
Empire. — "Casanova" a play from the
Spanish, adapted by Sidney Howard, and
featuring Katherine Cornell and Lowell
Sherman.
Forty-eight. — "Zeno," a melodramatic
mystery play, by Joseph R. Rinn, with
Effie Shannon the star.
Forty-ninth. — "Thumbs Down," a mys-
tery play, centering around a District At-
torney, a bootlegger, a matrimonial melee,
and a butchery- A poor successor to "The
Bat."
Frasee. — "Tweedles," a comedy written
by a team of humorists — Booth Tarking-
ton and Leon Wilson. Gregory Kelly and
Ruth Gordon head the cast.
Gaiety.— "Aren't We All?" Cyril Maude
in a delightful light comedy that revolves
around a philandering husband and an in-
discreet wife. Mr. Maude in a Grumpy-
Classic's List of Stage Plays
in New York That You
Should See
ish character sets a rare pace of fun and
his support keeps it up.
Garrick. ■ — "The Devil's Disciple." A
Shaw satire, which as usual shows up the
under side of militarism and politics. It
ends ungallantly on a triangle. An ex-
cellent show with Roland Young as Gen-
eral Burgoyne alone
worth seeing.
Globe. — "George
White's Scandals."
A de luxe edition of
gorgeously gowned
beauties that make
scandals appetizing,
including parodies
on Chan ve -Sunn's
and the Moscow Art
Theater.
Greenwich }'il-
lac/e. — "Brook," by
Thomas P. Robin-
son.
Hudson. — "The
Crooked Square,"
by Samuel Shipman,
with Edna Hibbard
and Ben Lyon tak-
ing the leads.
Klazv. — ''The
Breaking Point,"
dramatized from
Mary Roberts Rine-
hart's popular novel,
is the vehicle of
Lucile Sear's stage debut. McKay Morris
has the chief male part, Gail Kane is also
in the cast.
Liberty. — "Magnolia," another Booth
Tarkington comedy with its locale a
Mississippi plantation and a Natchez
gambling house, in the early forties. Leo
Carillo takes the part of a young
Southerner reared in the North, and
Martha Byran Allen, the youthful favorite,
that of a charming Southern girl.
Longacre. — "Little Jessie James," a
musical comedy w*ith Nan Halperin as
Little Jessie. The Paul Whiteman band
dubbed the James Boys takes care of the
orchestration.
Lyceum. — "Little Miss Bluebeard," an
Avery Hopwood comedy adapted from the
French, with Irene Bordoni supported by
Austin Farnum and Stanley Logan.
Morosco. — "Red Light Annie," a melo-
drama of the underworld dealing with the
drug question. Alary Ryan in the leading
role.
Music Box. — "Alusic Box Revue," Ir-
ving Berlin's 1923 extravagant display of
beauty and humor.
National. — "The Black Flag," a fantas-
tic piratical comedy with Pedro de Cordoba
and Carroll AlcComas in the leading roles.
New Amsterdam.- — "Ziegfeld Follies,"
glorifying the American girl and featur-
ing Patricia Salmon, the tent-show girl of
the Golden West.
Playhouse. — "A Alad Honeymoon,''
Barry Conners' farcical melodrama in
which a fat housemaid, a minister, and a
constable, educated by correspondence, de-
luge the elected pair — Boots Wooster and
Kenneth AlacKenna — with delightful non-
sense.
Palace. — Keith vaudeville. Always a
good bill, and drawing more and more
talent from the headliners of the regulars.
Plymouth. — "The Next Corner," a
comedy by Kate Jordan, the cast headed
by Florence Eldridge, Louise Closser Hale,
and Basil Rathbone.
(Continued on page 98)
(Six)
-
Ml.M MiI'iKm vM/rr. itaro/
Ziegtictd'* mutual comedy,
"Sally"
Photacraph by LtvU-Smllh , Chtmoo
1 CanTeadxTfou to Dance like This*
Ser$efMarinofF
"And you can study urider my personal
direction right in your own home."
FEW PEOPLE living outside of
New York, Chicago, or the great
European capitals have the op-
portunity to study dancing with any
of the really great masters. And the
private, personal instructions of
even average teachers range upward
from $10 an hour.
But now, the famous Sergei MarinoS
has worked out a system of home
instruction. You can learn classic
dancing in all its forms — interpretive,
Russian, ballet, aesthetic, Greek — at
a mere fraction of the cost of lessons
in the studio.
A Fascinating Way to Learn
It is so easy and so delightful. Just
put the record on the phonograph,
slip into the dainty little dancing
costume (furnished free with the
Course) and you are ready to start.
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what to do, while the spirited rhythm
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master the technique of the dance.
Your progress is rapid and soon you
develop confidence so that you are
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FREE
Dancing Costume, Phonograph
Records, Complete Studio Outfit
A dainty costume designed so as to permit
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thing you need to help you with your les*
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Charm and Grace
The natural beauty of the body is
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As a means of developing grace in
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And Fortune — and Glory
The popularity of classic dancing
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For the theatre — vaudeville — the
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through classic dancing.
Write to Sergei Marinoff
Everyone interested in dancing
should write to Sergei MarinoS at
once and get complete information
concerning his splendid system
of home instruction in Classic
Dancing. This information is free.
Send the coupon today.
M. SERGEI MARINOFF
School of Classic Dancing
Studio 12-77 1924 Sunnyside Avenue, Chicago
iniiiiiiiiiiiiiiii
M. Serge/ Marinoff.
School of Classic Dancing,
Studio 12-77 1924 Sunnyside Ave., Chicago
Please send me FREE portfolio of art plate*
and full information about four home study
course in Classic Dancing. I understand that
this is absolutely FREE.
: Addr
If ■■! I Mil III III! Illl Illlimilllt
■ Af
(Seven)
The Most Darinf* Book
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Elinor Glyn, famous author of "Three Weeks," has written an
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(Eight)
Make Your Honeymoon
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Courtship days l») the foundation <'t your future happiness or woe in m
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..Colds
Catarrh
Hay Fever
Asthma
Obesity
Headache
. .Thinness
. Rupture
, Lumbago
. Neuritis
. Neuralgia
Flat Chest
. . Insomnia
Bad Breath
. Bad Blood
. . Weak Eyes
Anemia
Debility
Successful
Marriage
m other jlIIii
No matter what al
i<> you tbal
.Fear
.Neurasthenia
.Short Wind
Flat Feet
.Constipation
Biliousness
.Torpid Liver
Indigestion
. Poor Memory
. Rheumatism
. Nervousness
Gastritis
Prolapsus
. Heart Weakness
Poor Circulation
. Increased Height
Easy Childbirth
Despondency
Female
Disorders
fully
. Skin Disorders
. . Prostate Troubles
Youthful Errors
Vlt.,1 Losses
Impotency
. Vitality Restored
Falling Hair
. Deformity (Describe)
. Stomach Disorders
. Successful Marriage
Pimples
Blarkheads
Round Shoulders
. Lung Troubles
Weak Back
Drug Addiction
Healthy Children
Weaknesses (Specify >
Muscular Development
Great Strength
about II and I «l
(Nine)
Is It Worth The Price?
Success is the result of intelligent labor. It is not acquired
overnight. It comes thru well-directed efforts. The same
law applies to attaining beauty. All women do not inherit
this coveted gift but they can cultivate the integral parts that
go to make up the whole — health, correct grooming, grace,
charm, and a knowledge of how to dress. If one does not
possess these things, time and labor will bring them. The
means will justify the end. Beauty is the best means to
employ.
WHAT YOU CANNOT AFFORD TO MISS
How to Breathe and Build the Body
The Importance ox V itamins
Personality and Perfumes
Early Fall Fashions and Style Service
The Memoirs of Mme. Vavara
A new serial with a wide appeal. If you are a young girl standing at the threshold of
life, the frank confessions of a woman who has lived deeply will be as guide posts on
your journey thru life. If you are a mature woman you will appreciate mure fully
the wisdom and truth embedded in the account of Mme. Vavara's life as written by
herself to her youthful ward in a French convent. This clever woman, famous for her
beauty and brains, does not hesitate to conceal anything in her own life which she be-
lieves will tend to instruct this young girl. This story by Stanton Leeds is one to enjoy
and to remember.
November
Beauty Secrets for Every Woman
(Ten)
The Second Crusade
An Explanation and an Apology
A CERTAIN person whose opinion we re-
spect has said that an editorial should be
more impersonal than our last one was —
the one about the movies as a field of incredible
contrast. But we cannot be impersonal about Mrs.
Wallace Reid and her heart-breaking picture,
"Human Wreckage."
We confess to being among those doubting ones
who questioned the motive and criticized the taste
of this unprecedented film. We went to the open-
ing night in Xew York frankly, out of curiosity,
legitimate perhaps, but with no idea of praise or
even of respect.
And we, like many others remained to pray.
No one could impugn the motives of Mrs. Reid
if they had seen her standing up in a box, after the
picture, while flowers in gracious tribute were laid
at her feet ; standing there white faced and weary-
eyed, the tears rolling down her cheeks, very near
to collapse, a tragic, pitiful, inarticulate figure.
Here is a gallant crusader who was not deterred
by an adverse public opinion ; who bared her
grief that others might see and be warned; who
has sacrificed herself to the common good ; who has
consecrated her life, more than nobly, intelligently,
to the elimination of a ghastly traffic.
"Human Wreckage," is a profoundly moving
picture handled with dignity and restraint. There
is nothing cheap or sensational about it. Quite the
contrary. A tremendous and unmistakable sincerity
animates everyone who had anything to do with it.
It is a grim, terrific tragic indictment of stupidity
and criminal indifference toward these "living
dead," whose pitiable army is vaster than you or I
ever dreamed of.
Altho our motive be likewise misinterpreted, we
say in all sincerity, that every man and woman in
the United States should go to see this picture ;
not as a Christian duty, but for the sake of being
intelligently informed on a subject that has been
heretofore shrouded in darkness. We realize, of
course, that the only effectual appeal is to the
emotions first. . . . Well . . . go to see the pic-
ture. . . . That is all we ask.
(Eleven)
Photograph by C. Smith Gardiner
The second generation of the movies is at
hand. We hope for this boy who has
adopted at the age of thirteen the profession
of his father, that he may have the vision
and courage of that ■well-loved star
DOUGLAS FAIRBANKS, Jr.
'hotogriph £ b? George Maillartl Kcsslere
PEGGY SHAW
Another Follies girl who has made good on
the screen. Well, why shouldn't they.' She
made her debut with Fox a year ago and
will be starred soon in "The Arizona Ex-
press," to be made in the West
Photograph by Edwin Bower Hesser
Who has the opportunity of a lifetime in
"Greed," as the ill-fated Trina Sieppe
ZAZU PITTS
Photograph by White Studios
JAMES K1RKWOOD
Whose performance in "Human Wreckage"
is to be commended for its power and restraint
Photograph by Freiilich
This man is almost too handsome. We would
suggest that some director "shoot" him. It would
certainly improve his picture. You may see him
in "Merry Go Round"
NORMAN KERRY
DOROTHY DALTON
Is vacationing in Europe after the manner of
movie stars. She will spend a great deal of time
in England with her father, and possibly make
a picture or-er there
The Camera
Mr. Bausch Lens
HARRY
I DO NT know about a man and his valet ; but I know
that no woman is a heroine to her cameraman. I
know; I am one of them. From first to last I have
photographed about every star in the business.
The hardest woman I ever tried to photograph is Ina
Clare. She has a difficult mouth which requires very
careful treatment and she will not co-operate with you in
this treatment.
She can be very charming when she chooses ; but she
is very sure of her position in the theater world and she
isn't too much excited over the movies anyhow. The
consequence is she will not give you the right amount of
help necessary to solve the problem of photographing her
difficult mouth.
On the other hand, there is Mary Pickford. Mary
is not the cinch to photograph that some people seem to
suppose. Oddly enough, only one side of her face is
ever photographed in profile.
This was the most exasperating lesson that Ernst
Lubitsch, the German director, had to learn when he
began to direct in the Pickford studio.
In Europe they have an entirely different standard of
art. The public in Europe does not seem to insist that
every heroine be fatally
beautiful. They recognize
the fact that plain women
might also have a life story.
In America, the movie pub-
lic is frankly indifferent to
the fate of homely women
-on the screen at least.
The first lesson that the
astonished Lubitsch had to learn was that Mary Pickford
had to do all her emotional storms with her right side to
the camera.
Mary helps the cameraman however so skilfully and
adroitly that it is a cinch to take her pictures. You have
to take care not to make her face look too long — and you
leave the rest to Mary. In the projecting- rooms she
studies her own, face as an Indian trailer studies foot-
prints. She is a past mistress of make-up and she knows
how to control her acting to co-operate in the fullest
way imaginable with the cameraman.
Marguerite Clark in her younger days, had a round
baby face, but she was not so easy to photograph for all
that. She had a way of wrinkling her brows that abso-
lutely wrecked your best close-ups unless you arranged
the lighting with great skill. The job of photographing
Marguerite Clark was also complicated by her sister. This
older sister is Miss Clark's business manager and general
guide, philosopher and friend. She makes a great deal of
trouble on the sets by interfering with the arrangements
of the cameramen.
Another girl who frowns away many good close-ups is
Blanche Sweet. Like a lot of girls with real characters
behind their beauty, Blanche
has somewhat irregular
features. She has a great
width at the cheek bones
and a face that tapers so
rapidly- that it gives her the
appearance of having hol-
low cheeks — which she
really hasn't. This effect
Photograph by
Arnold Genthe
Did you know that Blanche Sweet (left)
frowns away many a good close-up? And
that Billie Dove (above) is particularly
hard to photograph? And that John Barry-
more (above) 'looks beautiful from any
angle? And that Nazimova (right) directs
her own lighting and so forth?
Photograph (left) by
Evans, L. A.
Photograph by
Hoover Art Studio
(Eighteen)
Man's Angle
Confesses To
CARR
lias to be overcome with lighting. Another difficulty you
have to look out for with Blanche Sweet are her eye-
brows. When she frowns, it gives the odd effect of eye-
brows that grow straight across and meet. I do not wish
to give the impression that she is not a beautiful girl ;
because she is. The difficulty is that she has certain fea-
tures which cast photographic shadows.
To my mind, the most beautiful girl on the screen is
the hardest to photograph. This is Mae Murray. With
that little rose-bud, bee-kissed mouth, her aura of golden
hair which stands about her head like a golden haze ; and
her lithe beautiful body, she is a perfect picture. But
these effects are not easily achieved. The cameraman
has fairly to burn her up with lights.
She spreads a white coat of liquid make-up that is like
kalsomine over her whole face before she goes on the
let Her bare legs and body are practically painted white.
On the sets, they put a strong back light behind her
which makes that beautiful hazy effect. They hit her
full in the face with strong sunlight arcs. I dont see
how she ever stands it without going blind. No girl on
the screen ever used anything like the light and the make-
up. She is very particular about her photography, but
she knows her job and
knows how to help the
cameraman.
The direct opposite is
Lillian Gish. She uses al-
most no make-up at all.
Beyond a little powder, Lil-
lian is photographed just
"as is." Where most girls
spread on make-up, Lillian gets the same results by skil-
ful lighting. She is lucky in having the same photogra-
phers for many years. Billy Bitzer has reduced pi.
graphing Lillian Gish to an exact science. He knowi
every curve and angle to shoot from and to shoot at.
Carol Dempster is a photographic problem ju>t in the
exact ratio that you can get her to do her hair up on her
head. Her eyes are lovely. When she raises her hair
up on her head, her eyes become the center of the picture.
When she used to insist upon wearing it in long cork-
screw curls, it framed her face and made it lo6k thin.
Like most young girls, however, she thought it made her
look too old to wear it on top of her head.
The most extraordinary instance of a woman refusing
to help the cameraman was Doris Keene. She is too
great an artist to be young and the evidence of her
maturity is beginning to show at the corners of her mouth.
In "Romance" she absolutely insisted upon using the
same costume she had worn during the long and tri-
umphant runs in London. One feature of this costume
was a pair of jingly crystal earrings. The result wat
that your eye was caught by the glitter of one ear-
ring and traveled instinctively to the other earring,
straight across the line of
her mouth.
One stage star nearly
drove the cameramen to
drink ; that was Laurette
•Taylor.
She is a high-tempered,
headstrong woman of bril-
liant mind and obstinate
Photograph by
W. F. Seel >
Photograph © by
Strauss Peyton
You wouldn't believe that Tommy Meighan
(left) was a difficult camera subject; or that
Constance Talmadge (above) was even
more so; or that Bert Lytell (above) was
in the same class, as well as that appealing
Carol Dempster (right). Now would you?
(Nineteen)
CLASSIC
^nilMIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIUMIIMIIIIIIIUIIIIIIIIIIIIMIIIIIIIIIIIIIIIIIIIIIIMIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII Illlll 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
Life's Little Ironies in Verse
By
EXPERIENCE
Constance Blessing Smith
(~)H, once I loved deeply,
(Some women do this;
They fling all their freedom
Away in a kiss.)
Yet, wisdom or folly,
That course lived its day,
At present I'm using
A much safer way.
For now I love lightly,
I love with a laugh,
The thrill's quite as pleasing,
The trouble — one half.
will. When she made "Peg O' My Heart," she presented
a fearful problem. She is a woman of mature years, as
everyone knows, with a grown son. To make her look a
girl of fourteen was considerable of an undertaking.
When the picture was first started, she was very wilful
and insisted on having her own way in every particular.
She nearly drove the cameramen to suicide.
Finally they resolved to discipline her. They took the
pictures exactly as she directed them to be taken. Then
they took her into
the project ing-room
and showed her
how they looked.
That cured her.
From then on, she
was a lamb in their
hands and turned
out a marvelously
beautiful picture in
which most of the
close-ups, by the
way, were made by
placing her at quite
a distance from the
camera and using a
telescopic lens.
Even some of the
great beauties of
the screen are hard
to photograph. One
of the most difficult
I ever saw was
Billie Dove, who
was a wonderfully
beautiful girl. She
had a bad shadow
on her face. If you
threw the light on
her face to kill this
shadow, you made
her face look flat
and broad.
The same is true
in a lesser degree
with Constance Tal-
madge. Constance
is one of the most
beautiful girls on
the screen and one
of the hardest to
photograph.
Norma Talmadge
is a very curious
problem for the
cameraman. In any
one position. Norma
is not difficult to
"shoot"' : but when
she turns her head,
it spoils the show —
in other words, any
one aspect of
Norma is a compar-
atively easy task,
but changing versions of Nonna's face are difficult.
Alice Joyce is much more beautiful than she screens;
Mrs. Wallace Reid, much more slender; Priscilla Dean
not nearly so tall ; Andree Lafayette taller, Marion
Davies. fairer, face and hair, and so on. It is just as
true to say that the camera changes us all (a little) as
to say the camera does not lie. I can see both sides of
that argument.
Nazimova would be a homely woman but for the art
UNRECOGNIZED
By Frieurich vox Falkexburg
T~)0 not weep, little stars,
Because the meteor
Passed you by without a
Word of friendly greeting.
One I have known for years,
Today rushed swiftly by
Without a smile or nod . . .
And yet, I do not weep.
By
ROOTS
Dorothea Dali.ett
FATALITY
By Helexe Mullins
LIE had lived so long
In despair's shadowed cell
That when success came
Its sudden brilliancy
Blinded him.
It was his destiny
To live in darkness.
WHY?
By Lee Shippey
WfE rail at life,
And yet we
To see a white
Passing by.
sigh
hearse
ANACHRONISM
By Albert Brush
VOU lean indolently
Against the ship's rail,
There are six wild geese in the sky
And three white-breasted birds
On the water.
What right have you
In a Japanese print?
J I Ml, 1 1 II II Illlll t II II II ill!!!' illinium Milium I I.IIIIUIIIHIIIIMIIH.IIIIIIM'IIHI llll 1 1
and brains she u>es in getting herself photographed.
Every close-up of this great Slavic actress is practically a
painting in which she herself, dictates the lights and
shades and composition.
Mary Astor, a new comer to the screen, has about the
most perfect set of screen features I have ever shot.
Actually, this young girl is rather insignificant-looking
but she photographs like a million dollars. There is only
one bad angle and that is a three-quarter view with her
head drooped.
These youngster-
are no trouble at all.
They do just what
the director tells
them to. Give them
a few more years
tho, and they'll be
directing the direc-
tors. It is those who
are midway in their
experience that
make the trouble
for us. and cause
endless retakes.
What applies to
the women also ap-
plies to the men of
the screen.
The easiest he-
star to photograph
is John Barrymore.
He has a profile
like a cut cameo.
His manner i -
charming ; every at-
titude is grace per-
sonified; his fac<
one of the most ex-
pressive and mobile
it has ever been my
privilege to shoot.
It is true that he is
a bit temperamental
and one can never be
wholly sure that he
will be there, but if
he is. there is no
trouble.
Valentino would
be easy to photo-
graph were it not
for his ears. He
has very small and
misshapen ears
which the camera-
man has to be care-
ful to hide.
Tommy Meighan
is rather hard to
photograph, an<
is Bert Lvtell.
Dick' Barthel-
mess, altho willing
and anxious and
handsome, presents considerable difficulties. His face is
somewhat broad and has to be watched carefully. Ramon
Navarro is another handsome youngster, but be is easy.
Character actors always present a stiff problem. Some-
times their make-up is so grotesque that the mere elonga- j
tion or exaggeration of a single feature will burlesque a
most serious effort. For all its problems my job is
interesting, a regular handbook of human psychology. I
wouldn't give it up for the world.
I HAVE chased a butterfly,
I have dreamed a dream,
I have floated miles and miles
Down a summer stream.
I have always thought to find
Deep reality,
Something always led me on
But eluded me.
Will I ever find that thing
Rooted like a tree?
Passing loves I've often felt
Deep within my heart.
Stab they did but passed away —
Of me were no part.
Now my own has come to me,
Happiness I've found ;
I am rooted like a tree
In the solid ground;
No more errant, restless thoughts,
No more roaming 'round.
B]
DOULEUR
A. R. Wagneb
WHEX a girl
With youth and prettiness,
Glances at a man
Demurely under shadowed lids.
With carmined lips apart
In half a smile.
And elicits no response —
It is worse
Than the tragedy
Of the first grev hair.
iimiiiiiiiiiiiiMmimitiiiiiititil
(Twenty)
MARIE-JEANNE DU BARRI
Famous Heroines No. 1. Posed by Claire Windsor
Here is Madame Du Barri's own description of herself taken from her memoirs: "My lovely face,
my locks which waved most enchantingly over my eyes, which were melting, sparkling and liquid
as crystal, my mouth, small and red as a cherry, my delicately formed nose, my excessively
fair skin, my elegant and sylphlike figure, in fact, the perfect beauty of my person made
my mother conceive the greatest hopes of success." Everyone knows of the tragic "success" of
the little milliner's girl with Louis XV, that eventually led her an ignominious dance to the guillotine
(Tzventy-ouej
There is an air of nobility about Alma Rubens, with
her sculptural early Italian face, the fine pallor of her
skin, the remoteness of her eyes. . . .
Divine Discontent
By FAITH SERVICE
Alma is frank, too, frank and direct. She
doesn't "set the stage." She talks like' one
young person to another, without an ever
present sense of "I wonder how this will
look in print."
Some gelatin goddesses might, for in-
stance, think it more judicious not to say
that they'd leave the screen if they could
do something else better. Not Alma. Be-
tween you and me, we hope that she doesn't
leave the screen even if she does develop
into an Edith Wharton or an Anzia
Yzierska or something. For we cant im-
agine Alma doing anything, even writing,
better than she does screening. It would
be a pity to hide her sculptural, early-Ital-
ian face behind a noiseless typewriter. Her
art is noiseless, as it is, why not leave well
enough alone?
Besides, it will probably seem incredible
to most fans to know that to be a star, a
cinema celebrity, is not enough. To be
feted and adored, publicized and pictured,
and bowed down to — what more could the
heart of a maid demand ?
But the heart of Alma Rubens desires
more.
Over the Honey Dew melon at the Ritz,
our talk went something like this :
Alma : I- wish to goodness I could be a
writer. I wish it so much that I've begun
to try my hand at it, and if I succeed . . .
(gesture of eliminating several studios.)
Myself: Well, if you do, what then?
(Continued on page 76)
r
N a recent article
in a fan maga-
zine Alma Ru-
bens is referred to
as "a Duchess" and .
other elegant things.
We get the point,
exactly. There is an
air of nobility about
Alma. Perhaps it
lies in her seeming
abstraction ; a sense
of noble detachment from
the more harassing and
mundane things of life; a
sort of plastic serenity ; a
garment of glamour cover-
ing undertones of purple
and passion. Or it may lie
in the set of her head, poised
and proud; in the remote-
ness of her eyes, when she
is gazing into space; in the
fine pallor of her skin, the
firm modeling of her lips.
But Alma is red blooded
as -well as blue blooded. She
is human as well as haughty.
(Twenty-two J
Renee
This is Alma as we shall see her in "Under the Red Robe." But she
is not satisfied with motion picture starring. She wants to write. . . .
She says: "I admire most those people who are able to sacrifice every-
thing . . . for the sake of the thing they most want to do and can do best"
(Twenty-three)
Foreign
European Studios
MAURICE
agree to meet each other later, at a fixed date, to relate
what has happened during their separation. The girl
arrives in her luxurious dress, happy at her success, and
the boy sends a mutual friend with a letter. He cannot
come, he is very ill, and about to die. But as films now
require happy endings, George Pearson, who wrote this
story, was obliged to modify the epilog. And we then
know that all this is the story of the book our young
author is writing.
FRANCE
It is not the first time that two producers have directed
together a picture in France. This happened before the
war at the Pathe studios. And now, two good directors.
L. Mercanton (who made "Phroso" and many other films.
one of which, with the late famous stage actress Mme.
Rejane) and Rene Hervil, have presented their new photo-
play "Sarati the Terrible." This is a story of adventure
which takes place in Africa and which has proved very
lucky to French producers.
Two brothers who are rivals and who will find at the
end a nice looking girl who will happily metamorphose
"' I 'HE English studios are just like
the American ones," Betty
Compson said to me when I
saw her for the first time at the
studios of the Famous Players-
Lasky in London, "I mean this
one," she added, thus confirm-
ing what Mae Marsh had said
previously.
Before us the studio No. 1
presented the aspect of the
Paris Moulin Rouge, with its
orchestra, its crowds of dancers,
while the electric wings of the
mills were turning slowly. Some of
the dancers were considering the Ameri-
can star with considerable curiosity. On
his pedestal, near the camera, Graham Cutts,
the director, smiled at us from time to time.
"He is a very clever producer," said Betty,
*'I am glad to work with him, and I like
the story so much besides."
"Woman to Woman" is the title of the
play which ran so successfully in England,
and which will be the name of the British
film in which Betty Compson plays lead.
She will be seen as a dancer of the Moulin
Rouge, where an Englishman (Clive Brook)
will notice her and fall in love with her.
And both will be happy ... at the end
of the picture.
"Love, Life and Laughter," otherwise
called"The Story of Tip-Toes, "the new film
directed by George Pearson, has obtained a
legitimate success. It tells us of the adven-
tures of an ambitious girl (Betty Balfour)
who succeeds in her ambition to become a
music-hall star, and of a boy (Harry Jonas)
who remains as he is, a poor author. Both
At the top of the
page is Maria
Corda as Delilah,
in the Austrian
film, "Samson
and Delilah." Left
i s little Miss
Myrtle Peter who
is appearing with
Betty Compson
in the British
made picture,
''Woman to
Woman." Below
is Pasteur (cen-
ter) played by
Charles Mosnier
ifl the French
photoplay of that
name
Films
v .1 Glance
ROSETT
the eternal triangle into a quadrangle, and
iti, the villain, are the principal characters
if tins new photoplay which has many good
qualities and is among the best pictures lately
made in France.
t hi the occasion oi the celebration "f the
centenary of the great scientist Pasteur, Jean
Benoit Levy made a picture which follows
faithfully the principal episodes of the life
of the tamou> benefactor of humanity. In
spite oi its actuality, this is a very interesting
picture possessing the advantage of being
educational and also at-
tractive as a story when it
shows to us how Pasteur
made, after long hesita-
tions, his first experience
on the body of the little
Meister. The role of Pas-
teur is perfectly revived
by Charles Mosnier.
ITALY
I had the opportunity
of meeting Carmine Gal-
lone, one of the best of
the Italian producers.
Speaking to him of the
nt situation in Italy.
I referred to what I wrote
in Classic about my visits
to that country.
"You are right." he re5
plied, "many mistakes
have been made in my
country. A few producers
among my friends as well
as myself have seen the danger,
have decided to take steps to alter things.
We have formed a Consortium which will
he for Italy what 'The Allied Artists' 1-
for the States. It includi
Righelli. A. 1'alermi and myself. But no
doubt we shall be joined by others, by
(iuazzoni (the producer who made 'Mes-
salina'), for instance. We shall not •
to pay frequent visits to other countries
in order to see what is being made there
and to follow the progress of others."
Carmine Gallone has just completed a
[Continued on page 86)
Above is Albert Bassermann as
Christopher Columbus, the title
role of a German film
At the top of the page is a scene from
"Jola." a Russian picture in the typically
Russian manner. Above is Soava Gallone,
an Italian star, as the daughter from the
Italian film, ,,The Poor Mother." Left is
a scene from another desert picture, "Sarati
the Terrible," a French photoplay with
two directors
Photograph by Aubert
' Twenty-five)
Scaramouche
"He was born with the gift of laughter and a
sense that the world was mad." — Rafael Sabatini
Ramon Navarro, in a striking study by W. F. Seely in the title role of Rex Ingram's "Scaramouche"
:.*~>,,l *>- -r
(Twenty-six)
Ashes of Vengeance
By PATRICIA DOYLE
1AM Anne de Breux. 1 am a little girl and a cripple.
1 have many long hours with nothing to do, so I have
decided to write down the story oi mj sister, my
itiful sister, Yoeland. It is an exciting tale, full of
thrills and romance, and while it was happening, nobod)
I much attention to me, but 1 kept m\ eyes open and
;ned and thought, and my darling Rupert and his —
that i». Yoeland told me of the things 1 could not see.
Yoeland's story really began when my brother, the
Ote itc la Roche, brought home to our castle, M. Rupert
Vrieacs as his bond servant. The De Vrieacs, altho
they are Huguenots, are as noble and of as ancient a
lineage as our own. It is another story how the last scion
its illustrious family came to be a bond ser-
vant of ours, and perhaps 1 would better
tell that first.
The De Vrieacs and the De Breux
were bitter enemies, had been for g
several generations. Altho I can- i I
not understand how anyone
could hate either Rupert or
Charles, the feud between our ^|
families was started by the
unhappy and unfortunate
marriage of Yvonne de
Marbleu and Raoul de
Yrieac, and has been
ended only by the mar-
riage of But I
must not tell the end
of my story first.
It was after the
cruel massacre of
Bartholomew's
day, when Rupert
was the affianced of
Margot de Vain-
ceoire, another
Protestant. My
brother Charles,
who is irresistible to
women, who wears
lace at his wrists,
tho they are hard
as steel with gallant
sword play, had
started a flirtation
with the Vainceoire,
a f roward piece, to be
sure. He did it mere-
ly to annoy and har-
ass his enemy Rupert.
but the girl, it seems,
took it seriously, and
when young Rupert found
her in the arms of Charles,
he immediately challenged
him to a duel.
Now these are hot-blooded
times and altho I am young and
carefully guarded the reports of
these stirring conflicts reach even
my secluded life. The Comte de la
Roche is one of the finest swordsmen
in France, but Rupert bested him and in-
stead of taking his life as is customary, pre
(Twenty-seven)
Mimd ins Libert; to him with intuiting I do
not understand these amenii but I know it
humiliated my brother to a< i epl anything from nil enemy.
h was intolerable to one of his proud spin'
life to One he hated, and < bailee dreamed and thought
of nothing but re\cnge.
I le got it much sooner than he expet ted it, too. It
during the terrible days oi August, 1572, and the I
that Margol de Vainceoire was in Paris and a Huguenot,
and that Charles was also there and .1 I atholie, that he
was able to guarantee her safe e-cape from the city. He
saw tO il thai she was not one of the thousands of mar-
tyred Protestants whose blood will forever cry for ven-
geance on the house of the De Medici. The price
he exacted of Rupert for the safety Of hi>
fiancee was five years of serfdom in our
household. He was revenged indeed.
The ignominy was now I )e Vrn
but Rupert has borne himself
nobly and comported himself
with such exceeding honor that
out of the ashes of vengeance
has come at last love, tri-
i, umphant and gloriou-.
When Rupert first came
to Castle de la Roche in
my brother's train, he
was treated exactly like
any other of our servi-
tors. His mien was
haughty and unbend-
ing, not at all that of
a servant, but he was
never insubordinate
in the performance
of his duties, tho it
must often have
chafed and galled
his proud spirit.
Charles seemed to
take particular de-
light in humiliating
him and as for
Yoeland, well, she
treated him worse
than the scullions
that helped in the
great kitchen. That
is. she ignored him
altogether, or if she
wanted any disagree-
able duty done she
would say. "Here, fel-
ow, take this refuse out
to the swineherd, and
make haste to return. I
want my hound plucked and
brushed before even."
Such unwelcome tasks were
usually left to the lowest meni-
als in our retinue, and the fact
that Rupert performed them always
with a grave and deferential courtesy
often gave my sister to blush. Yoeland
was a ravishing woman, with hair like a
falcon's wing and skin like the red and white
CLASSIC
The fascinating Comte de la Roche with his men in the inn
fought the duel that resulted in intensifying the family
roses that clambered over the castle wall. When she
blushed she was more than beautiful. Rupert's mouth
was stern but his eyes laughed, laughed at Yoeland when
she ordered him about and that made her self-conscious
and uncomfortable, and she ordered him about the more,
and played harder than ever, the great lady. Sometimes
I was wont to think Rupert did it on purpose, tho of that,
I cannot be sure. Even so, he must have been dolorous
indeed to be separated from the lady of his heart and to
be serving' in so shameful a capacity in his enemy's
household.
I loved him from the first.
so tall and to me, tender as
the mother I had long since
lost. He used to carry me
all over the castle gardens
in his strong arms, Yoeland
walking arrogantly before.
Sometimes Yoeland would
forget to be cool and severe.
"Ah, Rupert," she once
said, in that husky sweet
voice of hers, that was the
toast of all her admirers.
' 'Tis a pity to see you
thus. I shall speak to my
brother."
"Nay, Lady," Rupert re-
plied, drawing himself up
proudly, "I pray you say no
word in that direction. A
De Vrieac pays his debts,
He was so handsome and
ASHES OF VENGEANCE
Fictionized by permission from the Joseph M.
Schenck production. Directed by Frank Lloyd and
starring Norma Talmadge. The cast:
Yoeland de Breux Norma Talmadge
Rupert de Vrieac Conway Tearle
Due de Tours Wallace Beery
Catherine de Medici Josephine Crowell
Margot de Vainceoire Betty Francisco
Comte de la Roche Courtney Foote
Charles IX Andre de Beranger
Due de Guise Boyd Irwin
Andre William Clifford
Anne Jeanne Carpenter
Vicomte de Briege Howard Truesdale
Denise Mary McAllister
Philibert de Bois Kenneth Gibson
Father Paul Forrest Robinson
Lupi Frank Leigh
no matter what
it cost him."
And then Yoe-
land became more
aloof and cruel
than ever. We De
Breux. alas, are
cursed with a
flaming and in-
tractable pride,
and Yoeland, high
spirited and great
hearted tho she
was, suffered
from it too. Even
after Rupert had
heroically risked
his life for u> in
a battle with one
of the starving
wolves that oft-
times prowl about
the castle, it did
not alter her
mood. She seem-
ed to resent the
fact that she. too,
owed her life to
Rupert. Of that
awesome battle. I
cannot speak, it
was too terrifying,
and altho I loved
and do still love
my sister dearly I
fell out of pa-
tience with her
for her attitude
toward so gallant
a gentleman. If
I had known then
as much as I do now, I could have understood that
because she talked of him all the time, even tho that talk
was all abuse, was that he interested her more than she
would have found possible to admit.
"You think this oaf, handsome little Anne?"' she would
ask.
"Yes, truly." I would answer. "And he is no oaf!"
"Well, I like him not. I find him most ill favored, dour
and gloomy as a donjon keep. I like him not."
Affairs progressed in this wise for some time and then
something happened. Something always happens, give it
but time. My uncle, the Vicomte de Briege, came one day
to pay us a visit. He
brought most unwelcome
tidings. Denise. his fair
daughter and my sweet
cousin, he had betrothed to
the Due de Tours, a most
wicked and profligate man
but of great estates and
riches. This was grievous
news to Yroeland. for she
loved her cousin dearly;
and wdien she heard my
Aves that night, she wept
a little and I could say
naught to comfort her.
" 'Tis sad. sweet sister, to
marry where you do not
love," she said, kneeling be-
side my cot, "and I know
Denise cares only for that
where he and Rupert de Vrieac
feud ten thousand times over
(Twenty-eight)
>sic
impoverished young nobleman, Philiberl de Bois. I \\ i^h
I might help hei Most certain!) I shall return with '>ur
Uncle and give hei whal solace 1 ma) Fan you well,
bantling, and the good ( k>d keep my little ^nne tree from
pain while 1 am gone. I shall take De \ rieai as lacqw
"Ah, sister," 1 entreated, "subject him not to this
further humiliation."
"He i- our enemy, the enemy of our house," she
peated in a resolute voice, as tho reminding herseli
that fact.
\ml so, when my uncle returned to the Chateau Briege
mpanied l>y hi> niece, Voeland, Rupert was one of her
entourage. I hated to see him go. \ltho everyone is
kinci to me here, from Nannette, my tirewoman, up to
Yoeland, 1 am often lonely. Rupert \\a> now my dear
friend, m\ true knight, and when we had to part I gave
him a talisman. as ladies always do when their knights
ride a-venturing, to have and to hold while he should be
away. It was a lock of hair, the smooth, fine flaxen hair
clipped from the wax doll Charles had brought me from
Brittany. 1 wanted to give him a lock of mj own, hut
1 wasn't allowed to cut it and 1 knew it wouldn't really
matter to Rupert.
They found a gay party at the Chateau when they
arrived. There was a temporary truce between the Catho-
lics and the Huguenots, and a great many of both sides
were there, including
occupy hei thought* that when the I'm de i
arrived to pa) I and prompt
attentions from I lenise to thi more sti ik ii
made no effort to conceal hei dislike of the man
he impressed b) the imposing following he
broughl with him. More and moi thought
Rupert, but proud maul that would not let him
see it, only spared him an) further humiliation
hands.
At a gl ' later in thi
drank too much wine, became intO> i< ated b) tl
and quantit) of m\ uncle's hospitality b) the abusi
n rather and bo far forgot his high station as to kit
little kit. hen wench. The girl's loser tried right valiantly
to protect her and the wicked Due ran him thru without
any more ado than one would -tick a wild hoar at a hunt.
This foul murder, for such it was, so enraged the n
cenaries that they determined upon I And who
can sa) that these lowly folk had not a truer idea of
justice than the high-born lord-, who held them in I
Suffice it to say, they planned an attack on all the men,
of the household, including my precious Voeland.
But the ever vigilant and valiant Rupert learned of their
plans and caused my sister to take refuge in the turret
room, with sixteen of his men who had come with Andre
to see their lord once more, to defend her. Thru a mis-
Margot de Vainceoire,
the woman for whose
> a f e t y R u pert had
pledged five years of
minions servitude.
This beautiful sacrifice
of honor had been made
in vain, a- it subsequent-
I) proved ; for she ac-
cepted the suit, that very
night, of a nephew of the
Due de Tours, and sent
hack Rupert's ring and
the news of her engage-
ment by Andre, his trust-
ed henchman whom he
had left with Margot for
her protection. She must
have been a poor thing
indeed to jilt so fine a
man as Rupert and that
he should have grieved
over so faithless a crea-
ture, cause- me discom-
fort to this day. It was
perhaps a greater blow
to his pride than to his
heart ; and to think he
had to keep his oath of
sen ice, tho naught could
come of it; to have
to endure the humilia-
tion of a servant's lot
and no reward at the
end of it.
Ah. well, these things
are ordered for the best
1 am sure. Altho I have
not lived very long, I
ha\e had long times in
which to think, and I
discovered that this blow-
had softened Yoeland's
heart toward him and
piqued her intere-t as
! well. So much did he
Catherine de Medici persuading her son, the weakling Charles IX, to sign the
order for the bloody massacre of St. Bartholomew's day
(Tzrenty-nine)
CLASSIC
Yoeland de Breux takes leave of her brother as she is about to pay a visit to her uncle. Rupert is now her lacquey
taken tho understandable sense of hospitality Yoeland
insisted that the Due be allowed to join them. This
proved a very serious mistake, for the men outside then
became more determined than ever to get the Due.
Inflamed by good red Burgundy and exhorted by the
half-wit serving-maid, they stormed the turret-room.
Right valiantly Rupert's men fought to
save the lives of their little garrison.
They were outnumbered two to
one and their besiegers held
the point of vantage be
sides.- I am thankful
I did not know about
this until it was over.
I could scarce have
lived thru that night.
One by one Rupert's
men were killed or
wounded. The stone
steps ran with their
loyal blood. The de-
voted Andre was
mortally wounded and
died in his master's
arms. So perilous had
their position become
that my brave, my
peerless Yoeland
seized a sword, forgot
her maidenhood and
fought courageously
beside her defender.
Then Rupert's doub-
let was ripped open
by a ferocious sword
thrust which pierced
his side, and he col-
lapsed.
That would have
been the end of both
my loved ones, had
not young Philibert
de Bois and his men come unexpectedly to their rescue
and put the offenders to rout. Father Paul, who was the
chaplain of the Chateau, had let himself down from the
east wing on a rope made of bedding and tapestries and
swum the moat and never halted till he reached De Bois.
'Twas a fine brave thing to do, for a priestly man unused
to the hardships and vigors of fighting.
Both Yoeland and Rupert told me
the tale of the encounter, each
laying all credit and praise
at the other's feet, tho I
doubt not that it was
equally divided be-
tween them. Rupert
is utterly fearless and
Yoeland, for a wom-
an, the bravest I have
seen. It was when
Rupert lay sore
wounded that Yoe-
land. of the high
hand, realized that she
loved him. Forgot was
all her pride, her for-
mer hatred. She let
him read the tender
message in her eyes
and his own, tho they
were dark with pain,
answered her in kind.
She nursed him with
all care, finding hap-
piness in the doing of
it, until one day she
sat mending his torn
De la Roche offers the
Huguenot De Vrieac the,
badge of Catholicism
as a guarantee of safety
for his affianced, Mar-
got de Vainceoire
(Thirty)
CLASSIC
doublet and cam* across .1 lock of fine gold hair pinned
carefully in the innermost pocket,
Alas! She thought it was Margot's hair and thai
Rupert still loved her. Whereupon she became all cool
.mil distant again and left the nursing to the servants.
Rupert could not, of course, understand this change and
it wounded him deeply so that he was longer getting well
than need be. M> sistei cherished her grief and dis-
lintmcnt .in secret anil put on a bold and indifferent
t for outsiders. If 1 cpuld but have been there to
iin !
I'd take her mind out of its .sorrowful channel, Yoeland
schemed and put into operation plans for the wedding of
Denise and Philibert, which was successfully consum-
mated. But m\ sister's troubles were not yet over ; the
■ unbearable and trying was yet before her. On her
back from the wedding, she was captured by the
Due's men, right on the highway, and carried by them,
bound and gag-
ged, back to the
turret - room.
There Rupert
lay likewise
bound and help-
"YVhat is the
meaning of this
indignity ?" Yoe-
land demanded
as soon as she
A-as released.
"Peace, my
beauty," the Due
replied, "and I
will tell you. I
never cared a fig
for that little
nouse, Denise.
Tis you I love.
Vou are the
.voman I want
for my wife,
ind " he
lesitated. "I
nean to have
••ou."
Rupert nearly
nirst his bonds,
veakened by
oss of blood,
ho he was.
"Never," Yoe-
and replied,
lolding her head
igh. "I despise
ou."
"A h - h a,"
lughed the Due.
0 matter !
'ou love this
russed fowl, I
ave disco v-
red," waving a
isdainful hand
nvard Rupert.
A deep crim-
en gradually suffused the countenance of Yoeland.
"Ah. you confess it by your blush." declared the Due.
\oeland made no reply, only held her head higher
aan ever.
"VA ell then, marry me and he shall go free — unhurt.
efuse and he shall go free— but blind. See !" The Due
pened a door, behind which was Lupi, a professional
(Thirty-one)
4 . . . and so the feud was ended, for neither Charles nor Rupert dared
displeasure My Lady Yoeland as they both loved her too well. . . . "
torturer, heating, ovei a little braziei of charcoal, the long
irom with which he expected to burn out Ruperi
Yoeland almost swooned with horror. "You shall i.
she cried OUt "And it he the only way to BaVC bun, 1
will mai rj even you, scorpion I"
"Nay, dear lady," interrupted Rupert, "mind bun not.
I beseech you nol to do tins thing, I had rathei be ten
thousand tunes blind than sec you wed tO bun."
"She shall be wed to inc. my friend," sneered the I I
"but do not distress yourself, you shall not see it, Lupi,
do your work."
The evil creature entered tin- room with the red-hoi
irons held OUt before him. Yoeland, for all her high
heart, closed her eyes and moaned in horror. I
Rupert drew in a mighty breath and the hue turned away.
Suddenly, there was a sound of voices and many mailed
lists beating on the door. It gave way before the on-
slaught and Rupert's own men entered the room. Lupi
they slew with-
out a qualm and
awaited their
1 o r d's orders
about the Due.
Rupert had the
room cleared of
all but himself
and the Due and
there despite his
wounds gave
him a chance for
his life in hon-
orable duel. He
was spared the
necessity of kill-
ing the wicked
'man, however,
by the sudden
entrance of the
poor half-wit
serving - maid
whom the Due
had wronged,
who stabbed him
fearfully in the
back. That was
the end of a
coward and an
u n s crupulous
wretch. It is
sometimes given
to these humble
agents to be the
instruments of a
divine justice.
Yoeland then
returned to Cas-
tle de la Roche,
weary and sad. I
was so glad to see
her and Rupert
that I cried
tears like a ba-
by. Whereupon
Rupert took me
up in his arms
to comfort me,
and pulling out that yellow lock of doll's hair, held it up
for me to see. "Here," he said, "is your talisman. See
how faithfully I have kept it for my little lady."
Yoeland gave one look at the thing, blushed a rosy
red. and fled. Rupert sighed after her, and I sighed too,
for I did not even know that they lov^d each other.
(Continued on 'page 76)
Photograph by Donald Biddle Keyes
The Drama of the Decalogue
Photograph by Edward S. Curtis
Above is
Moses with the
Children of
Israel before
the Red Sea,
on their way
to the Prom-
ised Land
Left is Theo-
dore Roberts
as Moses, the
great patriarch
and lawgiver,
with James
Neill as Aaron
(Thirty-two)
Cecil DeMille
Makes a
Picture oi
The Ten
Commandments
Cecil De Mille held a contest
recently which offered a
thousand dollars for the best
original idea for a motion
picture. The winner was a
suggestion that he film the
Ten Commandments. The
pictures on these two pages
are from the prolog which
serves to introduce a modern
society drama. To the right
is a group of musicians in the
Pharaoh's palace
These are the
Children of
Israel in bond-
age to Rame-
ses II build-
ing the gates
of the city
which he
forced them
to erect to his
glory
(Thirty-three)
Elinor Glyn on the Technique of the Scenario
By AVERY STRAKOSCH
"IV TO writer
I V can logical-
ly object to
having his story
hashed about by a
scenario depart-
ment, until he has
thoroly learned
the movie angle
of his business,
and has sent in
his picture play in
the right form."
This is the de-
cisive statement
made by Elinor
Glyn, who after
years of fame as
an authoress, and
as an intelligent
and charming
woman, remains
apparently un-
spoiled. Talking
with her in her
drawing-room at
the Hotel Am-
bassador in New
York, where she
remained for a
few days recently,
before going on to
Hollywood to di-
rect the picturiza-
tion of her novel
"Three. Weeks,"
I was enchanted
to discover a
famous personali-
ty who admits the
necessity of pub-
licity, and who
even asks to, be
granted one boon
from it — that she
shall be quoted
correctly.
Slender of
figure in a pastel
negligee of silk,
copper-red plaits
of hair about her
ears, gracing her with the medieval quality of Maeterlinck's
Monna Vanna, narrow, fascinating eyes of sea green —
this is the Elinor Glyn of today. It is truly difficult to
fancy three grandchildren awaiting her return to England !
"You know," she continued, choosing her words care-
fully, the delightful music of a pure English voice slightly
accentuated, "the modern author should make it a busi-
ness to master the technique of scenario writing if he
wants to have firm ground to stand upon, in requesting
to see his works pictured coherently, as well as artistically.
Authors in general have not come to the stark realization
that they must practically do away with the colorful
beauty of words — a real sacrifice, I grant you.
"One of the best ways that I know for gaining the
experience of this new technique, is to place a chair or
lounge in front of
a blank wall or
curtain, and
seated there un-
disturbed, im-
agine one's story
passing by : the
figures, the mise
en scene, all,
across that blank
space. You must
see in thought
your entire story,
without the words
that you have so
carefully used to
build up your
plot. Put it all be-
fore yourself in
action. Watch it
go by, asking al!
the time, how is
this? Does it lag,
or does it gallop?
Remember, there
is nothing >o ex-
plain all this to
you, the unfold-
ing of your story,
but the action.
"The art of
writing for the
movies is as dif-
ferent from other
writing, as is the
art of the violin-
ist from that of
the pianist. No
one would think
of asking the
master violinist to
play the piano
with the same de-
gree of skill that
he would have in
playing his
chosen instru-
ment. Would you
expect the pianist
to take up his fel-
low musician's
fiddle and do him-
self justice? No. But, if either one spent an equal
amount of time in developing the technique for each
other's instruments, you might then be justified in asking
for satisfying, artistic results.
"And so it is, when writing f -r the movies. But !"
Here Mrs. Glyn stopped for a moment, an expression of
challenge crossing her face. "When a writer has be-
come a master of this technique, he has every right to
complain about the absurd mill thru which his original
idea is drawn and mangled, changed and distorted, to
such an extent that upon production he blinks his eyes
in amazement, thinking perhaps some mistake has been
made, that it is not really his picture after all !
"Every story has to go thru about seven departments
{Continued on page 78)
Photograpn by Hoover Art Studios
Elinor Glyn, the celebrated English authoress, says: "The only
perfect pictures I have ever seen in America are: "The Four Horse-
men of the Apocalypse,' 'The Kid,' and Douglas Fairbanks in 'The
Mark of Zorro' "
(Thirty-four)
After Rembrandt
Albin has gone back to the immortal manner of Rembrandt for the inspiration
tor this portrait of Richard Barthelmess in the title role of "The Fighting Blade"
(Thirty- fiie)
The Promise Fulfilled
These Newest Stars in the
Cinema Sky Have Left
Obscurity Behind
Photograph by Melbourne Spurr
ALLENE RAY
This young girl's beauty is the rare ash-blonde type.
Since the Brewster Publications discovered her she
has made good in pictures. She is at present with
Fox, in "Times Have Changed"
Photograph © by A I bin
MARY ASTOR
This exquisitely lovely girl has climbed
steadily up the movie ladder in the last two
years. She, too, is one of our contest win-
ners, and the last and best news about her
is that Famous Players have signed her for
three years. Her first picture for them will
be "Spring Magic"
Photograph
by Apeda
FLORINE FINDLAY DE HART
By an imposing list of beauty judges this dainty
little sixteen-year-old was acclaimed The Ameri-
can Beauty in our last contest. She is an inter-
pretative dancer and is dancing both at the Rivoli
and Rialto motion picture houses
(Thirty-sir)
CLARA BOW
(below)
Is the little ingenue
flapper who ran
away with that
great whaling pic-
ture. "Down To
The Sea In Ships."
She has just signed
a long-term con-
tract with Prefer-
red Pictures and is
out on the Coast to
make "Maytime,"
and "The Boom-
erang." Brewster
Publications gave
Clara her start
VIRGINIA
BROWNK
FAIRE
(below)
Perhaps you re-
member her in
"Omar The Tent
Maker," or in
"Without Benefit
of Clergy"? She
has gone back to
Universal City to
support William
Desmond in "The
Skyline of Spruce."
We found her, too
Photograph
hv Lumiere
CORLISS PALMER
This charming daughter of the South has given up, temporarily,
her screen career for the less exacting field of editorial and beauty
research work, of which, she accomplishes a great measure
:>grarh by Ira S. Hill
Photograph by Edwin Bower Hesser
As the proof of
the pudding is in
the eating, so the
proof of success
is in the arriving.
These beautiful
and ambitious
girls were every
one winners of
the contests of
the Brewster
Publications. We
gave them their
chance, and they
have all made
good. We are
proud and glad
to sponsor their
artistic develop-
ment
(Thirty-seven)
' Fifteen men on a
dead man s chest,
Yo-no-no, and a
hottle o rum
"Captain Applejack"
was a great stage
success with a long
New York run.
Now, those of us
who missed these
pirates on the stage
will see them on the
screen. The play was
colorful and full of
thrills and should
lend itself beautiful-
ly to the silent me-
dium. Fred Niblo
is directing the pic-
ture for Metro. The
girl in these scenes
is Enid Bennett
It is almost too
bad that the days
of buccaneering
are no more.
There never
could be a mod-
ern thrill equal
to a Henry Mor-
gan or a Captain
Kidd episode.
Thanks are again
due to the movies
for reviving (and
safely) the pic-
turesque picaroon
and his exciting
adventures
(Thirty-eight)
IE
The Powers Behind the Screen
Who's Who in the Motion Picture Business
By STANTON LEEDS
Editor's Xotk: This is the first of a series of five articles on the history of
the busintfS end of the motion picture, and a discussion and description of the
truly great personalities who have put the movitS on the maf
POPU1 AK interest in the vital structure and frame-
work supporting that incredible bonanza, the motion
picture business in America, has multiplied and in-
creased to the proportions of a gigantic national question
mark, since the movie magnates two years ago parted
the bulrushes and discovered in the bread basket of
politics, a Moses to lead them from Egypt. This vcar a
razor-edge has been given that same thirst for informa-
tion by the government's attempt to discover if there were
in the picture industry a combination in restraint of trade.
Reading the Federal Trade Commission's investigations,
as published in the daily newspapers, people began to ask:
Who are these persons so prominently mentioned ? Who
are Zukor, Laemmle,
Cochrane, Hodkinson.
Williams, Rowland,
Fox, Powers, Shee-
han. Selznick, Gold-
wyn and so on. and
just exactly what do
they stand for?
Incredible as it may
seem to those close to
the tense drama of
the pictures' business
and politics, they do
ask these very ques-
tions, just as a year
before they demanded
to know why on earth
Will H. Hays should
resign as Postmaster
| General, even to head
the chamber of com-
merce of motion pic-
tures, even for $150,-
000 a year.
"Search me !" said
the man on the street.
Even those who
should be better in-
formed, who see fur-
ther than the gifts of
a bankroll, who look
far down the widen-
ing avenue of the fu-
ture where statesmen
are bound to adven-
ture, even these
shook their heads over
Hays, muttering.
"How are the mighty
fallen!"
For years there has
hung over the picture
business, now the
country's fourth larg-
est, bootlegging excepted, an obscuring fog. thickest
of all in its sanctums.
Few have been told what's what, who's who. behind
the screen. Most of us, too, are all too inclined to forget
Adolph Zukor, perhaps the most important figure of the
cinema today, is compared to that tremendously powerful
and diplomatic statesman, Disraeli. He is president of the
Famous Players-Lasky Corporation
that the golden-haired l: i r 1 -. . the laughter-coaxing come
dians, the stories thai entrance us at the cinema, arc no
more than the advertisements of a gold mine, the herald*
of an army, an army with commanders and even a field
marshal who foresaw, in part, the mass impact of pic
tures upon the hearts and minds of a world of people.
Foreseeing it, he attempted its- control. The attempt
brought disputes and battles. Came the peacemaker, then.
but to explain why and how he came, to suggest some-
thing of the vision before him, something of that vast
and majestic view of an unconquered empire of emotions
— to do this convincingly, we must go back a way.
It need not be too long a way. The history of the
motion picture starts
in the eighties with
experiments that led
to patents, but it was
not till early in this
century that the Mo-
tion Picture Patents
Company and its sub-
sidiary, the General
Film Company (com-
prising Edison, Bio-
graph, Vitagraph, Es-
sanay, Kalem, Melies,
Selig and others), be-
gan marketing these
patents at a profit by
selling to theater own-
ers, called exhibitors
in the trade, the right
to use them along
with the manufac-
tured film.
Because it control-
led these patents, the
General Film Com-
pany was the only
source of supply. The
little arcade owners
found themselves
soon in a state of
feudal dependence.
This is shown by
court records. Ex-
hibitors, those who
dared, protested, and
among these last was
Adolph Zukor. at that
time, ten years ago.
the owner oi several
nickelodeons in the
vicinitv of New
York's 14th Street.
To the great ones
in the General Film
Company the name meant next to nothing, so, when he
called, they kept him waiting. One hour. Two hours.
Three ! While he waits, observe him.
(Continued on page 81)
PhotoRravn t>y
(Thirty-nine)
These are the
first pictures
to be taken of
the beautiful
Italian villa
that Harold
Lloyd has
built at an ap-
proximate cost
of two - hun-
dred thousand
dollars
The home, of
which the pic-
ture on the
left is the ex-
terior, is lo-
cated in the
most exclusive
section of Los
Angeles, the
W i 1 s h i r e
district
A corner of the recep-
tion hall with its two
fine old chairs, its
grandfather clock, and
its many spindled rail-
ing. The woodwork
is oak
Here is the lucky
Mr. Lloyd and the
fortunate little Miss
Davis on their own
front lawn
One of the guest rooms
which is done in orchid
and a delicate green.
The rugs are soft grey
velour. A room of
comfort, convenience,
and charm
The Lloyd romance
seems to us a par-
ticularly happy one.
They certainly seem
satisfied
(Forty)
Hollywood
Homes
No. XII
Exclusive views of the
beautiful new home
Harold Lloyd built for
his bride, Mildred Davis
Above is the breakfast-room in coolest
green and ivory. It looks out on a little
covered portico that faces the tennis
court. On the tiled floor of the portico
is a famous urn, one of the rare pieces
of Capo di Monte in this country. It
has been in the Lloyd family since the
sixteenth century. Below is the south
side of the reception-hall, with a price-
less old hand-wrought chest and "The
Storm," by Colone, a German artist
Above is one end of the large and luxurious
living-room. Its color scheme is rose and
grey and Alice blue. Here the Lloyds have
collected many art treasures; the pictures are
some of them famous originals; the desk is
a beautiful piece, hand carved; the table, an
antique, and so on. Here too, they are "at
home" to their friends. It had to be a big
room to hold them all
■Forty-one ;
I
Photograph by Bloom, Chicago
I
HAVE spent most of my liberally
literary career, well, liberal anyway,
writing about movie stars, ingenues,
vampires, grande dames, ad lib. And I
would be hard put to it to remember one
who was not possessed of pulchritude of
one sort or another, many who were
bearing the banners of an abortive youth
and almost none who did not bear' in'
some wise a first or second cousinship to
the well-known bisque doll, or "Cy-
therea,'' or something.
Few, if any, are frankly what they
are. Few have struggled long and dis-
couraging years, bringing up a family,
doing their own work, constantly going
without this or that, constantly frightened by the
twin Ogres, Bread and Rent, and still preserving
within themselves, intact, the triumphantly unex-
tinguished torch of Art. There are so many ways
out of this, when one is young and pretty, so many
short-cuts, so many detours.
An Old Story
Told to FAITH SERVICE
Vera Gordon is what she has always been and
must always be — herself. She haB in incal-
culable measure the sympathetic, world-endur-
ing, passionate and patient artist-soul. To
the left is a character study and below her
latest portrait. We shall see her soon again
in "Potash and Perlmutter"
But Vera Gordon has justified my faith in many
things — even stars. Here is one "artist," and she
is that, who has travailed and come thru. Oh, it's
an old story, I know. All opinions to the contrary,
I believe that mute, inglorious Miltons have lived
and loved and died . . . still mute and still in
glorious. But it ceases to be an old story after ont
has come thru. Then is the test called acid. Fail-
ure is easy to bear for great and humble souls. But
Success ! Success is another matter. Many a great
and humble soul, stoically simple and erect under
the most bludgeoning blows of obscurity, has faced
about and showed a front of brass, when Success
has come.
But Vera Gordon is what she has always been
and must always be, Vera Gordon. Herself. She
is stout. And she doesn't let it annoy her. She
dresses plainly and without any attempt at re-mak-
ing herself. If you saw her coming out of the door
of her apartment, you would rate her as merely
another Jewish woman going to market to buy
matza for the "fem'ly." That is, if you didn't look
(Continued on page 79)
Photograph
by Mishkin
(Forty-two)
i
PhotogTaph by Nickolas Muray
JEAN ARTHUR
This young charmer was selected by a prominent group of New York artists in an
unpublicised campaign by William Fox for new leading lady material. She is to be
featured with John Gilbert in "Cameo Kirby." This, we think, is a remarkable tribute
to her ability
(Forty-three)
Above is Claiborne Foster, the girl
of "Two Fellows and a Girl," the
newest Cohan success, which runs
true to form. That is, it has been
persistently rapped by the critics,
yet fills its house nightly. Below
is a scene from the same play with
Claiborne Foster, Ruth Shipley,
John Halliday and Allan Dinehart
The
Photographer
Takes
the Stage
Above is Lucile La
Verne as the Widow
Cagle in "Sun-Up," a
really remarkable
drama put on by the
Provincetown Players.
So great has been its
success that it moves
up to Broadway this
fall. Classic recom-
mends it
(Forty-four)
I
Photogra
Above is Ben
Ali Haggin's
beautiful
living curtain
for the new
Ziegfeld Fol-
lies. He calls
it simply,
"Lunette"
Photograph by Muray
Photograph by White Studios
Classic's
Monthly
Department
of the
Theater
Left is Martha
Bryan Allen in
"The Devil's Dis-
ciple" and right,
by way of con-
trast, is Elsie
May in "The
Passing Show Of
1923"
Left, Eliza-
beth Brown
and her danc-
ing partner, G.
G. Sedano, who
will contribute
one of the
most artistic
and unusual
dances this
fall to the
vaudeville
stage
Photograph by White Studios
I Forty-five)
M
USIC cue for the love scenes between Flavia and
Rassendyl in "Rupert of Hentzau" : "I Flavia
Truly," by Carrie Jacobs Bond.
4* 4* 4*
"Anyhow," said our peerless pal and critic at the above
mentioned movie, "Elaine Hammerstein's interpretation
of the Queen is consistent, if nothing else."
"Yes," we answered — and you'll die laughing — "the
Flavia lasts."
•J, ►£. if
At the climax of the most passionate tete-a-tete be-
tween the queen and Rassendyl, a subtitle remarked:
"W hat is life without the one you love?"
"You said it," intensely muttered one-of-those-for-
whom-the-movies-are-made. No doubt these grown-up
eleven-year-olds have run right down thru history. "Give
me liberty or give me " thundered Patrick Henry in
1775.
"Th'ow 'at gemmun a fish, suh!" remarked one of the
members of the revolutionary convention.
4* 4* 4*
By the way, dont deny your-
self— if you are that sort of
person — the pleasure of
seeing the first part of
"Lawful Larceny."
It's Naldi . . .
but it's nice !
4* 4* 4*
In the New
York Tribune ,
Harriette Un-
derbill speaks of
Baby Peggy as
being four
years old. On
the same day,
Quinn Martin,
in the New York
World, discloses
her age as six.
And yet both of
them, we'd bet,
would hop on some
poor director if he
made the slight error of
having an armored tank
in the Battle of Hastings.
4* 4* 4*
They agree, however, that Baby
Peggy is the most talented child
actress on the screen. The polite
question is raised whether Baby
Peggy, with her remarkable intelligence,
is eligible to the child motion picture
actress class. We know of others, in
their early twenties and thirties. . . .
4* 4* 4*
Speaking of Things That Have To
such as the method in which a movie ingenue
enters her father's Wall Street office, why
are the organists in the movie theaters per-
mitted a constant ego-debauch of what, we
suppose, they imagine is improvisation? With
the innumerable modern improvements a four-
manual organ carries, all these doctors of music
seem to be able to produce is detached grunts and
squeals, disassociated snatches and fragments in lacerat-
ingly sudden crescendos and the Big Bertha-like rumblings
of the sixty- four-foot diapasons.
4* 4" 4*
Such performance on the noblest of instruments per-
meated our troubled spirit at "Trilby," and Heaven knows
"Trilby" was irritating enough. And now we have two
standards to judge a bad movie by. A — one that puts us
to sleep and B — one that makes us conscious of the organ.
If something is not done to these organists, we are going
to join the Kuklux Klan and have every miscreant chained
to a steam calliope with riveting, blasting and subway ex-
press attachments, and place them in vaulted cells with a
triple echo.
4. 4. •{•
As a matter of fact, there probably is heavy rivalry
between the musical directors in the Ritzy movie houses
and the organists. "You go your way," says the organist
to the conductor, "and I'll go mine."
Whereupon the full orchestra and the complete organ
give a joint rendition of Tschaikowsky's "1812"
Overture.
4* 4" 4"
Fantasie
"The
Brass Bottle":
Arabian sol-
diers in Jap-
anese medieval
armor rowing
out to sea in
an Alaskan In-
dian war-canoe.
Which evi-
dently means
that to Maurice
Tourneur a
spade is not
only a spade
but a combina-
tion pogo-stick,
beach umbrella
and mashie-
niblick, as you please.
4* 4* 4*
And in "The Purple Highway."
Madge Kennedy points to a print
tacked upon her attic wall. She has
wistfully labeled the picture her
"Dream Ship." But the picture
is Maxfield Parrish's reason-
ably familiar one of an evil
crew of Moorish pirates
sailing with the wind,
hell-bent for trouble.
Of course you cant see
that in the movie, so we take
our carping is out of order.
4- *
Or perhaps it's a
ship.
4- 4*
welsh
4-
rarebit
dream
ate
Pola Negri, on dit, has forsaken Charlie
Chaplin to roll those roly-boly eyes of hers at
Bill Tilden, the tennis chap. Here is a chance for
some bright little girl or boy to rise and remark-
that tennis is a love game that keeps the players
in the courts most of the time.
(Continued on page 96)
(Forty- six )
m
The Celluloid Critic
Laurence Reid Reviews the Latest Photoplays
w-
\
ITH the fall promising an unusually
heavy crop of good pictures — so good in
fact that the producers must needs lease
several Broadway legitimate theaters to give them
extended runs, along comes Paramount and steals
a march on the field. They have heaten the gun
— to use an expression of cinder-path circles —
with "Hollywood" which comes as the real saving
grace of a summer burdened with disappointing
attractions. Merely a handful have scored and
these will not reach the open country until the
leaves have turned a golden russet.
This "Hollywood" is at once the most inter-
esting and novel excursion into Picture Land
that has ever raced across a screen. True, Rupert
Hughes used a similar idea in "Souls for Sale," but where
he faltered was in treating his subject without drawing
upon his imagination. He fol-
lowed conventional lines in
conceiving a story which pre-
sented a girl reaching stardom
in the movies only after she
had encountered the cus-
tomary pitfalls. The manner
in which she was thrust into
pictures carried a familiar
theatric touch, and the intro-
duction of various celebrities
Mr. Rcid selects "Hollywood," directed by
the man who was responsible for "The
Covered Wagon," James Cruze, as the best
photoplay of the month. He says, " 'Holly-
wood' is the most interesting and novel
excursion into Picture Land that has ever
raced across a screen"
of the silversheet bordered upon circus publicity.
In other words they composed a separate unit —
a body of stars who had nothing in common with
the development of the story. Furthermore tht
author exposed the tricks of the profession — thus
destroying the illusion. His was an excursion
into a fictional Hollywood. And one could not
accept it as real.
Tom Geraghty and Frank Condon, on the
other hand, have painted a genuine Hollywood —
the studio center serving as a background for the
telling of a semi-whimsical, semi-wistful story
of a screen-struck girl who, because of the adula-
tion of her small-town villagers, thought herself
destined for the heights of stardom. How deftly drawn is
this character may be appreciated in the modest assump-
tion of greatness. She thinks she is beautiful and
talented — yet there is nothing
of a superiority complex about
her. Where the authors in-
troduce a real novel touch is
in having her fail where her
plain relatives have no trouble
at all in posing before the
camera.
You can imagine the hu-
-morous possibilities of such
a plot — you can imagine the
I Forty-seven)
CLASSIC
Above :
Cody
unlimited opportunities to emphasize all the color, back-
ground and detail of studio life. It is at once humorous
and tragic, wistful and quaint.
James Cruze, whose good-luck star is following him
persistently (he jumped right into "Hollywood" after
"The Covered Wagon"), has brought out all its spirit,
vitality, charm and humor. He has deftly balanced each
element so that it progresses evenly without once adding a
single false scene. It is another triumph for him — but the
major honors go to the authors for conceiving a genuinely
novel play. One may appreciate that it is a well-con-
structed story in the manner
which the girl's struggle for
recognition is visualized from
the day that she looks on
enraptured at a movie in a
typical picture theater back
home — to the day when she
realizes that she has failed.
Each effort she makes to get
into the circle of Fortune's
Darlings is drawn with all its
emphasis. There is a reason
for everything and everything
is in place.
The girl goes to Hollywood be-
cause her quaint grandfather
must have a healthy
climate. One indi
cation of rhyme
and reason.
The old man is
a type and is
quickly
chosen, tho he
didn't seek the
job. While we
are mentioning
these charac-
ters, let us
state that they
appear the
more genuine
because Cruze
selected them
from stock-
thus they appear to be
everyday folks. Hope Drown
plays the girl with wistful
charm and a depth of under-
standing, while Luke Cos-
grave is another Frank
Bacon as the quaint grandpa.
He undergoes a complete
metamorphosis in Hollywood
and really provides a most
colorful and amusing charac-
terization.
So the girl makes the rounds of the
studios and naturally encounters one star
after another. You will see there is even a
reason for their introduction without exploiting their
fame to catch the shekels at the box-office. Directors,
casting directors, and studio managers give her the cold
shoulder. And the details which show her adventures
on the lots are accurate and interesting. A large assort-
ment of close-ups are given of Meighan, Doug, Mary, the
De Milles,'Will Rogers, Bill Hart, George Fawcett,
Hope Hampton, Ben Turpin — and approximately thirty
others — including Fatty Arbuckle, whose moment is brief
as the casting window is closed in his face.
The biggest mirthful moment is the result of a dream
visualized by the girl's rural lover as he tosses in a
Marjorie Daw in
"Rupert of Hent-
zau." Below:
Jackie Coogan in
"Circus D^ys."
Left: Madge
Kennedy in "The
Purple Highway."
Right: Shirley
Mason in "The
Eleventh Hour"
Pullman on his way to Hollywood. He fancies her being
pursued by sheiks 'n' everything. And in every episode
as long as the dream continues, there is Laurence Wheat
in his B. V. D.'s shaving himself. He may be on a busy
corner of Los Angeles or a member of a wild orgy in
some Arabian palace. But is always shaving. A pic-
turesque, erotic dream which touches the high spots of
spectacular appeal, adventure and humor.
Eventually all the girl's relatives get into the movies.
Even the rural swain has no difficulty in signing a con-
tract. The conclusion shows them happily married in one
of the colossal mansions which
are presided over by successful
stars. Twin babies are their
reward. Even they are selected
for small bits. And the bird is
not forgotten. He supplies at-
mosphere. Thus they all get
into the movies except the girl.
And her failure rings true.
A picture which serves as
rich and colorful entertainment
— packed with humor and
pathos — a picture which also
serves in stopping screen-struck
girls from making the pil-
grimage to Hollywood, think-
ing that the fortunes of
the Make - Believe
world are theirs
for the asking.
Such fine story
interest, such
excellent de-
tails — such
stars in one
picture make
it as conspicu-
ous in its field
as the Levia-
than is upon
the ocean. The
real Hollywood
at last.
Lew
and
UNIV]
SAI
• < vr „ .
FR-
L'S
Merry-
Go-Round" possesses senti-
ment and charm and there is
at times a definite poignancy
about it which brings a
wistful appeal. We wonder
what Stroheim would have
made of it had he been
allowed to follow it thru to a
conclusion. His successor, Rupert
Julian, has brought out some spark-
ling bits — and at the same time he
allows himself to be swallowed up in con-
ventional grooves.
The tale — really a screen version of "Old Heidelberg"
— presents a sentimental heartache of a pathetic organ-
grinder who transforms a playboy into a gentleman who
respects a young girl's innocence. The scene is Vienna's
Coney Island — Der Prater, and as she grinds out the
tunes to the stern commands of the relentless conces-
sionnaire, well played by George Seigmann, there comes
into her life a gay lieutenant bedecked in a brilliant
Austrian uniform. There is some counter-conflict when he
is married to a lady of royalty, but his charter is born
upon the battle-field. And he returns home after the con-
venient death of his wife to lift the girl from drudgery.
{Forty-eight)
,
CI ASSIC
The important factors of this picture's entertainment
the backgrounds, atmosphere and the compelling pei
formancc b) Mar) Philbin, who approaches Lillian tiish
in her poignant moments.
WK find "Circus Days" (First National) an ideal
Btorj for Jackie Coogan'a expression, since it
places him against a background of tan bark and
big tops, no tale of (.-ircus life has evei failed to hold the
spectator's attention since its chief qualitj heart inter-
est i- exposed in every little detail. Where this story
falters is in
its planting
Of lack ic as
the m n c h -
abused child
in a brutal
uncle's home.
It ;> easy to
see that he
will eventu-
ally run away
when the.
circus comes
to town. The
brightest mo-
ments are
w h en he
doubles for a
tiny bareback
rider — per-
forming some
c 1 o w n i s-h
stunts
modeled after
an act in the
present Ring-
ling show.
The pathos is
exaggerated,
thus destroy-
ing the illu-
sion of
reality. And
Jackie's emo-
tional gifts
are sup-
pressed to a
great extent.
A t'rail story.
bolstered up
w i t h so m e
circus i n c i '
dent — which
will interest
after a
fashion.
IF we must
have pic-
t u r e s o f
mythical
kingdoms, let us at least have them after the manner of
Anthony Hope's adventurous yarns. "The Prisoner of
Zenda." and "Rupert of Hentzau." The latter, produced
under the auspices of Selznick. is a sequel to the other —
and presents the wily Rupert and his gift at intrigue in
a conventional s»rt of way. There is nothing about the
opus to stimulate the imagination — the story being so
ancient and obvious. But at least it is done ever so much
better than the volume of mythical kingdom stuff which
reaches the screen.
Rex Ingram was missed in the production of the
Above: Anton
Waverka in
l'M erry-Go-
Round." Below:
Mae Murray and
Monte Blue in
"The French
Doll." Right:
Andree Lafayette
in "Trilby"
Photograph by Ed. E. Morrison
Selznick number, \\ hile it has been dire< ted so thai
court flavoi is dominant, it lacks the vitality ol
Prisoner of Zenda." Furthermore, it doei not l>
"Zenda" made Navari Rupert
suggested the wily, unscrupulous nobleman mi [ope
painted him. Lew ( ody i« good in the role, but fail
color it with the fascinating deviltries I i
in "Zenda," is much better suited for the part of the I
than Bert Lytell who never realizes a real kingly beat
and dignity. Elaine Hammerstein gives a colorli
formance of the queen, acting as she ha always acted
without
inspiration or
enthn -i.i
11 looks
encou ra
ing to
Fox turning
tow a r d t In-
artistic
heights. Not
I that its "Soft
fl P\ %' J Boile(1"
\ H ' Lfc?*^ ■ destined for a
ft J EjApQFfl sun. but that
this company
has packed
up its wild.
melodramatic
troubles in its
old kit bag
and has
ceased mak-
ing pictures
for the Toms.
Dicks and
Harrys of a
moron world.
The above-
m e n t i o n e d
piece takes
Tom Mix out
of his chaps
and places
him in store
clothes to
lead a dizzy
pace in a
farce-comedy.
The idea is
brittle, re-
volving as it
does around
an eccentric
uncle's will, a
clause of
which com-
pels the heir
( Mix ) to
curb his temper for thirty days or lose his inheritance.
Simply a variation of the "Brewster's Millions" formula.
There is ample room for the star to attempt some
comic high jinks — at which he is fairly successful. But
the picture repeats itself too often — and there is too much
of Tom Wilson in blackface. The conclusion brings the
long-awaited release of temper when Mix foils the bad
man with rights and lefts a la Dempsey. The number stops
several times to introduce some unimportant hokum, but
with all its faults, it is Tom Mix's best in a long time.
(Continued on page 97)
Above : Barbara
La Marr and Er-
nest Torrence in
Maurice
Tourneur's fan-
tasy, "The Brass
Bottle." Below:
Tom Mix in "Soft
Boiled"
(Forty-nine)
The Rime of the Ancient Ham
By A. H. GIEBLER
After the man-
ner of Samuel
Taylor Cole-
ridge, with the
hope that the
imitation, how-
ever crude, will
give an affirma-
tive answer to
Thomas Gray's
highly rhetorical
question: "Can
flattery soothe
the dull cold ear
of death ?" and
thus keep Sam
from turning in
his grave
A Movie Fan, about
to ooze himself into
a Picture Dump, is
estopped by an aged
barn-storraer
It is an ancient Thespian,
And he stoppeth a Bozo,
Who, com in hand, would fain attend
A moving-picture show.
The Ham press-
agenteth himself
somewhat
No rambunctious termagant, as some
I moved to laughter, tears ;
Nor passion tore to shredded rags
To split the groundlings' ears.
The Fan thinketh
he's being pan-
handled
And adviseth the
Ham to take the
local constabulary
into his confidence
The Fan wa-teth
sore and is about to
tap the old guy on
the conk
But the Ham putteth
the hypnotic eye on
him and he is con-
strained to listen
The Fan, impatient, craned his neck.
He took a look inside,
Saw Usherettes in pantalettes,
"Say ! Have a heart !" he cried.
"There was a time, a gladsome
time "
"Aw ! Can the chatter, Pop !
They're showing 'Fruits of Sin' to-
night.
Go tell it to a Cop !"
He holds him with a skinny hand,
"There was a time." quoth he.
"Lay off! Lay off!" The Fan was
wroth.
Eftsoon his mitt dropt he.
He holds him with a glittering eye.
The Fan, he lit a pill,
And listens like a husband meek.
The Old Bird hath his will.
And runneth on in
the same strain
This statement is
open to question,
(All actors talk that
way, however)
The Fan beareth the
jazz and his goat
slippeth its tether
The Ham comfoTteth
him
I reflected Nature's every mood
With utmost care and quiddity ;
Erred not in sad or jocund speech
To e'er o'erstep her modesty.
I played Broadway in every town,
'Twas always S. R. O.
I stood 'em up and packed 'em in,
At each and every show.
I never worked a one-night stand,
Tank circuits left alone "
The Movie Fan here beat his breast,
For he heard the saxophone.
"Why listeneth thou ? That sound but
tells
Of a comedy on the screen.
My woeful tale's more sad by far,
Than comic thou'st ever seen.
The Ham admitteth
he hath seen better
days
"I am a veteran of the stage,
To this sad state become.
To ribald ones with vulgar minds
I'm nothing but a Bum !
See paragraph above
but two
The ghost walked regular every week,
My salary, Broadway top.
Thus Fortune smiled on me for years,
And then she took a flop !
And starts a mono-
log about them days
that was but ain't
no more
But years the mimic boards
I trod.
Homage was mine, and
oft
Crowned heads have melted
to applause
At Nature's mirror held
aloft.
(Fifty)
A
mi onnplaln
• III l.lttrtly •limn
llli- picture poll
Irlii-r
And rcinniki-ili an
nrly odcoim
The i "i ■ ed pictures hit the land,
\ml evei v vacant store.
\\ nil lui nl pictures was bedej ked,
Ami signs above the dooi .
phrase
ami
puny
With canny
price,
They lured the yokels in.
\n\ Jack could take Ins Jane,
For one dime, however thin.
tlv mUlM, II didn't
look a> if i ho leap-
ing llutypea wore go-
ing in get anywhere
at am. ,11,1 It)
At first I smiled. Some called them
Art!
Ye Gods on high! I laughed!
The actor's art is in his speech.
Could words he photographed?
Dopetn mil a una
to COP huI -■
Mir may picking*
That night did fond hope (ill tn\
breast,
This reptile I would won,
And pluck the jewel from its head.
I dreamed of savory stew.
He neglected to run
the card*
But as time flew the dumb things grew
To a gargantuan size.
But still I laughed and did not see
The writing in the skies.
TrLtli to crash the
'in, 11, i nnti's, but
gets the gale him
self
I haunted then the movie lots.
Ah, what a blow to pride!
To cool my heels in anterooms.
But seldom get inside !
Thr> used to allow
'cm In tenia, too.
Kt member?
The Morles always
did smnd a lotta
Jack on juice
'S a fad. the Monies
hit the legitimate an
awful wallop "long
about that time
Old 20** was get-
ting his!
The Ham helpeth
the four-a-day peo-
ple put the pictures
on the pan
There came a time, however, when
Ahout, about on every hand,
A raucous ballyhoo disturbed
Street, Avenue and Strand.
One walked abroad, and everywhere.
There flamed ami gleamed at night,
The symbols of the Cinemas,
In red and green and white.
The mushroom grew and grew and grew
Till temples of my art,
Went dark and silent as the tomb,
Where I did strut my part.
Plscuvereth that he
Is no Sheik
And that a tall hold
on technique gettcth
him nowhere:
He runneth on about
bis hard luck
I sought my Agent's
house in vain,
He spoke in accents
sad:
'There's nothing do-
ing in our line,
The world's gone
movie mad.'
Were others too, who
felt the screw.
Vaudeville, once
despised,
Its votaries became
my brothers.
And as we fraternized,
We sent a paean of hate aloft.
We damned the movies' eyes !
CASTING DEPI
Concludeth that
Bill said a wise
mouthful
Bethought me then of Shake-
speare's line,
Wherein the Great Bard
said,
'The toad, tho venomous,
despised,
Hath a jewel in his head.'
When once or twice they looked me
o'er,
Alas, my hair was thin ;
I did not sport a bulldog jaw,
No cleft was in my chin !
It mattered not that I did know
My book of drama thru.
They wanted Youth, but callow Youth,
And naught but Youth would do!
There passed a weary time. My throat
Knew only water as a drink.
My purse was empty of all sound
Where once fat coins did clink.
His stomach
' h 1 1 1 k e t h his
throat Is cut
From lack of food I
grew so gaunt,
My palsied hands
did twitch.
If stomach or if spine com-
plained,
I could not tell the which.
He taketh an
a w f u 1 slam a t
the early lens
lice
The while jo-
millers.
buffoons.
clowns,
Golden guerdons earned.
{Continued on page 88)
(Fifty-one)
Blow
Your
Own
Horn
By
DOROTHY
DONNELL
But it was almost
impossible to see
Jack ... so wholly
was he surrounded
by fair faces, mar-
celled heads, and an
aroma compounded
of the most expen-
sive scents of Araby
THE decks of the steamer, warping majestically up
the harbor, were packed with olive-drab heroes who
had just finished their job of making the world safe
for democracy. Sirens and whistles blew piercing blasts
of welcome from either shore ; the bronze goddess of
Liberty bestowed a metallic smile of approval upon them
as they sailed past her ; and all over the broad land the
mayors of a hundred cities worked feverishly upon
Addresses of Welcome.
Somewhat apart from his fellows stood a young man
with a square chin and a spunky grin that tried to deny
the wistfulness in his very blue-blue eyes. Seven million
people in Manhattan — and not one of them would be glad
to see him back ! He wished humorously that he had
elected to return by way of Boston where there would
have been only two million and a half people who wouldn't
have been glad to see him ! The sole relative Jack Dunbar
had in the world was a small brother whom he had
parked on a farm in the Middle West when a gentleman
by the name of Wilhelm had started something he couldn't
finish several years before. There was not even a mayor
to shed oratorical tears over him, for he was a rolling
stone, and in his pockets at this moment jingled not a
particle of moss.
*'If I'm going to keep up the habit of eating I've got
into," Jack reflected, "I've got to get a job, and I have a
sneaking notion that the guys that heroically gave their
voices for their country yelling 'hooray !' when we
marched away are going to get writer's cramp when it
comes to putting us on their pay-rolls now !"
'The mountain ranges of sky-scrapers gave way to docks
and huge electric signs advertising the virtues of pills,
tires and breakfast foods, the tugs grunted and panted
as they nosed their charge into dock and one thousand
nine hundred and ninety-nine relatives and friends surged
forward crying : "George !" "Peter !" and "Bill !" The
two thousandth passenger delayed until the others were
all disembarked, then sauntered down the gang-plank,
hands jammed into pockets, lips puckered into a gallant
whistle which changed to a yelp of surprise as a small
figure catapulted itself from the crowd upon him.
"Buddy! Why say — and I thought you were in Ohio
growing up into presidential timber !"
"I was but I ain't," Buddy replied succinctly, gazing at
his soldier brother with worshipful eyes, "I stowed on
a freight when you wrote you was comin'. Gee ! I was
scared I was going to miss meeting you — the brakeman
called a cop to jug me when the freight got in this
mornin' !"
"How come you're down here then?" Jack demanded,
trying to sound gruff and elder brotherly, and failing
shamelessly.
(Fifty-two)
I i IS
"( )li," said Budd
l jollied the cop into
bringing me down on his
. le !"
1 ln-\ win- afraid
emotion, and veered man
wise from its dangerous
\ icinity. Budd) pro> ing to
have seven dollars in his
pocket they discussed their
joint future o\ er .1 sumptu
ous banquet of pancakes
and doughnuts in a near-b)
quick lunch. Buddy stated
emphaticall) that he was
not going back to the farm.
"Mrs. Smedley made bully
pies," he admitted, "but she
was always after me to wash, ami besides when a feller
i> horn an orphan like me he'd better stick to his brother,
When Jack glimpsed the bill for the pancakes he
decided that the city was no place for them, an opinion
that a day's search for a job confirmed. At the close
of the afternoon he exchanged his soldier uniform for a
suit of hand-me-downs at the Misfit Clothing Store of
one Abraham Levy. '*I guess we hit for the tall grass,
kid. 1 cant do much of anything but I cant do it better
in the country than in the city. Let's go!"
The following afternoon found them trudging along a
road in upper Westchester where fate gave them the
cue to turn the corner immediately after Mr. Small, multi-
millionaire, with a prejudice against chauffeurs whirled
the crank of his imported car for the fifteenth fruitless
time, accompanying the operation with lurid language
which even to one
accustomed to the
conversation of
drill sergeants
was a revelation.
"I sent my
daughter out of
earshot," Mr.
Small explained
as Jack and
Buddy paused en-
tranced to harken,
"this is the fifth
time this after-
noon she has had to
take a walk in the
fields while I got
this contraption
of the devil
started. When I
get home I shall
buy a push cart
and do my travel-
ing in that here-
after "
"1 .et me look at
it." Jack suggest-
ed. "I'm a bit of
a tinkerer. I can
make most any-
thing go. even an
army mule."
With a kind of
awe the million-
aire watched
while he tightened
a bolt here,
adjusted a plug
Bl I »W N "i R Ht >RN
! no. ■!!:.-, .; b) I'll mission ii, .in the F B
release <■' thi icreen adaptation bj i<> k i.o i-
ia v i> itorj Directed bj Jamei \\
Home iiu-
Dunbar Wai n< i Baxtei
Nicholas Small Ralph Lewii
\nn Small . . \mi Pel du<
Auguatus Jplj in I it kei
moi e Be\ an William 1 1 ["urner
Gillen .Jolyon Ernest C Warde
Idy" Dunbar John Fox, Ji
Julia Yates Mar) Jane Sanderaon
Mis [olyon Eugenie Fordt
Mrs iiilro> \.n<s . I 'ill Hoone
Percj N .it< - Bill) I Isborni
Timothy Cole Stanhope Wlieatcroft
the engim
and Mr Small
In ightened. "All I i ould
make her do W 'il(,'h
like a damned top]
fretted, "young man
saved my life M
tells me I mustn't
angry. You're a won
you're — »
"It wasn't any t hing,"
said lack modestly, shaking
his head at the proffi
bill, "anybody could have
told you what to do."
Mr. Small returned the
bill to his pocket reluctantly. "Then, if you wont let
me repay you with money, young man." he said, "here
million dollars' worth of advice. Never tell people some-
one else is as good a> you are, never be modest. Brag!
Bluff! Blow your own horn, young man!"
Jack laughed. "It's no use trying to make people
think you're something you're not," he declared, "you
cant get away with it."
Mr. Small had been watching him closely, now as a
man overcome by his own humor he burst into immoder-
ate laughter from which words trickled: " — be a g
joke — that old snob Jolyon! And Mrs. Yates would hurl
Julia at your head — and Dinsmore Bevan. ha, ha, ha!"
Gradually he became more coherent: "Say. I like to
prove my theories and I can afford to do as I like. I'll
give you one hundred dollars to impersonate a millionaire
at a house-party I'm on my way to now."
Here is a part of the amazing house-party: the rich Mr. Small and his daughter Ann, the
finicky financier, Bevan. the ambitious (unduly) widow, Mrs. Yates
m
(Fifty-three)
CLASSIC
Rapidly he unfolded his scheme which included a
mythical Rolls-Royce supposedly wrecked, forcing Jack
and Buddy to don borrowed clothes, with a Texas oil
well in the hackground — to explain, Jack judged cynically,
any solecisms of speech or ignorance of the proper fork
for the fish course.
He had already opened his mouth to disclaim any
interest in the preposterous plan, but no words came.
Lips still ajar, he was gazing beyond the baldish head of
the whimsical millionaire at a vision in cool summer
colors who had just appeared strolling thru the grove.
"Is it safe to come now, Papa?" asked the Vision, smil-
ing cherry-lipped, "a few little damns wont matter."
Jack bowed, gracefully from the hips as he had seen
the Frenchmen bow, and turned to Mr. Small whose pursy
figure seemed surrounded with a glow of reflected radi-
ance. "I agree to your proposition — on one condition,"
he said suavely, "'and that is that the scheme be confi-
dential for one week, no matter what occurs."
"You have my word for it !" the millionaire chuckled.
"Then," Jack deftly slipped a card into the other's
hand, "wont you begin by introducing me to your
daughter? And explain how my car was wrecked so that
my brother and I are forced to make such a poor
appearance."
The chuckle exploded. Mr. Small's expression as he
complied with Jack's request was dubious like that of a
man who doesn't quite see the point of a joke. And
when, a little later, he stood by and watched the members
of the Jolyon's house-party vie with one another to make
the handsome young Texas oil magnate welcome, his
dubiousness was that of a man who has walked confi-
dently off an unsuspected step in the dark.
P'1'
"Isn't Mr. Dunbar a dear?" gushed Mrs. Yates, a
stout widow with a cattish tongue, kittenish ways, and a
daughter of more than marriageable age, as she glanced
across the table at dinner, "wasn't it fortunate Mr. Bevan
is the same size and could lend him clothes and my little
Percy's things just fit that sweet child Buddy! What a
romantic chance that brought him to us here — it is almost
enough to make one believe in Fate isn't it, Mr. Small?"
Across the silver centerpiece her neighbor watched the
debonair figure of his creation -dividing his smiles between
unattractive Julia Yates and his own daughter, Ann,
while on the other side. of Ann, quite isolated by an inat-
tentive, charming bare shoulder. Augustus Jolyon, the
son of the host, partook dreamily and in solitude of his
alligator pear salad. Augustus had neither parlor graces
nor shekels, but he did possess ancestors. His blood
was blue, which no doubt accounted for the bleak pallor
of his complexion, and his features were all inherited
from a long line of forebears which was probably the
reason for their being so curiously assorted. It was a
matter of understanding between Ann's father and
Augustus' parents that their children should marry, and
Ann had been apparently resigned if not enthusiastic
when they started out for the house-party.
Mr. Small had always rather fancied himself as a
practical joker, but now he began to wonder whether he
had not been an extremely impractical one. If only he
had not given that idiotic promise of one week's silence !
He would see that young upstart after dinner and put
him in his place.
But it was almost impossible to see Jack after dinner
when the party had returned to the drawing-room, so
wholly was he surrounded by fair faces, marcelled heads
and an aroma
compounded of the
most expensive
scents of Araby.
Fuming inwardly.
Mr. Small watched
Mrs. Yates coo
over him, watched
the slightly shop-
worn Julia ply him
with flattery,
watched his own
daughter. Ann, ac-
tually blush in a
Mid- Victorian
manner at some-
thing the shameless
young scoundrel
whispered to her —
Ann who read
Shaw and Wells
and was wont to
discuss sex inhibi-
tions and birth
control with
her young me n
friends !
Mr. Small cast a
glance about for
Augustus who, as
prospective hus-
Bcvan shook his
head: "Not practi-
cal, my boy! Sorry
but I am not inter-
ested in portable
Niagaras. Why dont
you try our friend
from Texas?"
(Fifty-four)
CLASSIC
Percy and Buddy doing their share toward making the house-party even more interesting
band, should by right be a prey to the green-eyed monster,
but that pallid youth had cornered Dinsmore Bevan and
was explaining his invention of a device for the wireless
transmission of power to the skeptical financier. ' . . .
millions in it !" he was saying, "think of it, the power of
a Niagara in your own home by pressing a button I"
Bevan shook his head. "Not practical, my boy!'' his
tone patted Augustus indulgently on the head,
"sorry, but I'm not interested in portable
Niagaras. Why dont you try our friend
from Texas?" His gesture told
Augustus to be a good boy and
run away and play, but the
young inventor took his de-
risive suggestion seriously. A
gleam of hope came into
the pale, near-sighted eyes
he had inherited from
some maternal uncle, he
set his great-grand-
father's rather weak
chin determinedly and
a moment later had
Jack
ner,
tale.
Mr. Small sought
his host. "Jolyon.''
said he, "have you
spoken to your boy
about the matter we
discussed the other day?
What did he say?"
Mr. Jolyon shrugged
his shoulders. "To be quite
frank," he admitted, "Au-
gustus did not take to the
idea just at first. His remark
was, as I remember, something
to the effect that he didn't want
any wife because she would be sure
to get hair pins into his transmitter,
and powder onto his batteries, but I rt-
111
another cor-
istening to his
minded him that marriage was a family custom of our-.
and he finally yielded."
"As a wooer," said Mr. Small dryly, "Augustus is not
exactly ardent. However I cannot say that Ann is pre-
cisely sentimental herself, altho she has agreed to my
wishes. I think under the circumstances," his glance
wandered toward Jack, "we would be wise to announce
the engagement at once."
Ann Small smiled a trifle grimly intc
Augustus' downcast face as they took
their places side by side. "It hurts
me as badly as it does you. Gus !"
she said, "still, dont you think it
would be the sporty thing to
register pleasure instead of
looking as if the body was
still in the next room?"
Jack Dunbar was in the
act of signing his name
when the announcement
of the engagement was
made. The result wa-
a large, heart-broken
blot but he pressed
Augustus' hand warm-
ly in congratulation.
"May I be the fir
he said, "to Wish my
partner happiru
"Partner," cried Small
and Jolyon in chorus
while Ann
visibly.
"Why, yes," Jack ex-
plained, "Augustus has
told me of his invention
and I think with my knowl-
edge of wireless we can make
a big thing of it. He has of-
fered me a half-interest, and Mr.
Bevan here has just purchased my
interest for fifty thousand dollars," and
(Continued on page 93)
brightened
(Fifty-five)
Flashes From the
Eastern Stars
Love,'' he journeyed down Long Island and shot one
;>f the biggest mob scenes ever filmed. The ''extra,"
were a flock of sixty thousand ducks!
RODOLPH VALENTINO has
signed a long-term contract
with Ritz Carlton Pictures.
After his return from Europe
where he and his wife are vaca-
tioning and at the close of his
Famous Players contract (Feb-
ruary, 1924) he will start to
work. He is thrice welcome
back. The screen needs this
picturesque personality. He
wants Sabatini's "The Sea
Hawk" for his first picture, but
Richard Rowland of First Na-
tional has already bought the
screen rights. ...
The Metro
Picture Cor-
poration an-
nounces that af-
ter several
months of nego-
tiation it has
succeeded in
signing Lau-
rette Taylor to
star in picturi-
zations of two
of her stage
vehicles, "Hap-
piness," and
"One Night in
Rome," both
written by J.
Hartley Man-
ners. Miss
Tavlor passed all photographic tests in "Peg
Q''My Heart."
Photograph by P. Aoers, Paris
Lionel Barrymore and Irene Fenwick will
appear on Broadway this fall, it is understood,
in a new play under the management of David
Belasco. Broadway rumors have it that the
piece is being put into shape bv Achined
Abdullah.
Lew Cody will be seen in a play on Broadwa) soon
to be called "The Panama Kid." At present he is on
the Goldwyn lot making "Law Against Law."
.*».»«***
Lynn Fontanne, known for In r
work in the role of Dulcy, is
now at work in the New York
studios of Distinctive Pic-
tures Corporation in a film
entitled "Second Youth."
She plays opposite her
husband, Alfred Lunt.
She opened on the stage
in "In Love With
Love."
Having completed
"The .Fighting Bla
Richard Barthelmess
will do as his next pic-
ture the celebrated novel
"Wild Apples." After
:>ix months' research work,
1 Inspiration Pictures have
decided that Mr. Barthel-
mess will bring to the screen
Nathan Hale, portraying the
character of the American patriot
Top of the page: Anna Q. Nilsson sacrifices her beautiful
hair for the sake of "Ponjola," while Donald Crisp looks on.
Above: Otto Krueger and Gustave von Seiffertitz, noted
character actor in "Under the Red Robe." Left: Raquel
Meller, a Spanish beauty imported by the Selwyns to head
a Continental type of Revue. Below: The newest Follies
deserter, Mary Eaton, learning about the movies from Sam
Wood who will direct her in "His Children's Children"
Photograph from Paramount Pictui
Elmer Clifton likes to do things on a large
scale. During the filming of "Six Cylinder
(Fifty-six)
The Editor Offers the Latest News
of Stage and Screen
who died ni the cause of liberty. This was decided upon aa a
alt of many requests to set this favorite star in the role of the
revolutionan hero.
Glenn Hunter has started work on his rii>t picture for Para-
mount, "West of the Water Tower," an adaptation of the anony-
mous novel which is now having a sensational sale.
fane Harvey, for many years the outstanding player of mother
roles in moving pictures, today mothers guests at the Waldorf-
Astoria, Xew York City, where she has been working as a floor
clerk since her retirement from the screen three years ago. L'ntih
her retirement Mrs. Harvey was a familiar figure in pictures,
Photograph by White Studios
Above: Regina Wallace who is to play opposite
McKay Morris in Mary Roberts Rinehart's "The
Breaking Point" early this fall. Left: Lillian
Gish and Henry King and the oldest actress in
Italy on location before Marion Crawford's villa
overlooking the Bay of Naples. Below: A study
in contrasts — the first and smallest steamboat,
Clermont, and the last and greatest, Leviathan.
The replica of the Clermont was used in "Little
Old New York"
Photograph by International Newt Kcti
Photograph by Abbe
having 'played mother parts to such moving-picture stars
haplin, Owen Moore. Shirley Mason, Petrova. Xance
O'Xeill and Pearl White.
The first of J. Stuart Blackton Productions to he re-
leased by Yitagraph is "On the Banks of the Wabash,"
a story inspired by the famous song classic written by
Paul Dresser.
Editing of "The Midnight Alarm," David Smith's
magnificent fire thriller, is being finished at the Yitagraph
Studios in Brooklyn. This picture has a special cast
headed by Percy Marmont, Alice Calhoun and Cullen
Landis.
(Continued on page 89)
(Fifty-seven)
Above is the Villa Albani, Rome,
which was built in the fourteenth
century by Cardinal Albani (later
elected Pope). It is now owned by
Prince Torlonia, who generously per-
mitted its use for "The White Sister,"
the Marion Crawford story which
Inspiration Pictures made in Italy
with Lillian Gish. It is considered
one of the greatest beauty spots in
Europe. Right is a convent near
Porto San Giovanni, Rome, where
many of the exciting incidents of
"The White Sister" were shot
On The
Seven Hills
of Rome
Authentic
Backgrounds
for "The
White Sister"
A palazzo near
Rome, above
' . . . the turgid
Tiber's crimson
flow. ..."
(Fifty-eight)
Vespers
'The Saints will aid if men will call:
For the blue sky bends over all." — Coleridge.
The pictures on these two pages are the beautiful and authentic backgrounds for "The
White Sister." The entire picture was shot in Italy; in Rome and Naples for the
most part, which means that this film will be heavy laden with the "fatal beauty of
Italy." "See Naples — and die" is the immortal phrase of that dream city. We cannot
afford to miss this picture. The scene above is Lillian Gish on the balcony of the
Villa d'Este, Tivoli
All Photographs by Abbe
(Fifty-nine)
Classic Considers
Ink Photograph by Pach Brothers
ROBERT J. FLAHERTY
F. R. G. S.
Because he is the only per-
son who ever made a suc-
cessful movie without hero,
heroine, villain, or plot. With
"Nanook of the North" he
put the Esquimo on Broad-
way and familiarized the en-
tire country with his life and
habits. Adventurer, scholar,
explorer, he had no idea of
expressing himself thru the
camera until he was ma-
rooned for a year and a half
on arctic ice. Because Fa-
mous Players have financed
an expedition to the South
Seas so that he may do for
the tropic South what he has
done for the frigid North
Photograph by Kendall Evans
OILDA GREY
Because she is abso-
lutely unique in her
field — the champion
shimmier of the world.
Because she has a
tremendous following
both in "The Follies"
and at "The Rendez-
vous" where she
dances — that is —
shakes a wicked anat-
omy to the gustatory
delight of audience
and patron. Because
she has defied anyone
to produce a more
perfect pair of legs
than her own — and to
date, nobody has
Photograph © by Luniiere
HARRISON FISHER
(above)
Because there is not
a young girl the
length or breadth of
the United States who
is not familiar with his
drawings, and doesn't
want to look like
them. Because he is
one. of our most promi-
nent and successful il-
lustrators. Because he
is handsome, clever,
successful, not too
young, a bachelor, an
artisr and a rare good
fellow besides
(Sixty,
d
A Camera Study
George Walsh has forsaken athletics for
aesthetics. In his new picture for Goldwyn,
"The Magic Skin," he is cast as a dreamer
and a poet starving in his garret. It is
said that George actually starved himself
for weeks before this picture so that he
might acquire that yearning, aesthetic look.
We find this poetic glamour becoming and
we marvel anew at the versatility of these
movie stars. The little girl on the stairs
gazing so admiringly upward, is Bessie
Love, another many faceted star
(Sixty-one)
The Hollywood
Above, Mary and Doug and Theda —
Pickford, Fairbanks and Bara. Right is
Claire Windsor in a new role, getting
ready for Hallowe'en. Below is Netta
Westcott (center), an English beauty,
over here to adorn our films. Olga
Printzlau and Eve Unsell of Preferred
Pictures are on either side
Below is Buster
Keaton with his
staff of "gag
men." Buster
must be hard to
please, or some-
thing. They dont
seem to be doing
so well with the
tragic comedian
Transcribed by
BEFORE I ever write again about a happy Holly-
wood bride, I am going to make her bring her
husband by the hand and file him for reference.
All of which anguished cry arises from the case of
Renee Adoree. It appears that while we were all
dripping fond and happy tears over her domestic bliss,
she was burning midnight oil in the manufacture of
a burning suit for divorce. And the suit for divorce
was filed the other day. In it she accused her hubby,
Tom Moore, of cruelty. She said he accused her of
having a "past" ;
of calling her
mean names. So
there's another
young illusion
gone.
The lovely
Renee can doubt-
less find some
consolation in the
fact that she has
made the greatest
sensation of any
girl in Hollywood
this year. She is
regarded as the
greatest "find" of
many seasons as
an emotional
actress.
All of which
Photograph by Clarence S. Bull brings US to the
case of Mabel
Normand. I attended a luncheon one day
last week at the Writers' Club, at which the
topic was brought up of screen genius.
The writers and directors who were there
all agreed that the greatest single genius
that has ever been produced by the screen
is Mabel Normand and that some day she
is likely to tear loose and produce some-
thing that will be immortal in screen
history.
For the first time in her life, Mabel
has really been in earnest over a pic-
ture. Until this one, she has been the
despair and agony of her directors'
lives. They would get all set to
"shoot" and perhaps the star would
appear ; and perhaps the star would
not. Also the star was just as likely
as not to go to lunch on an important
day and not appear for four days.
But, while the "Extra Girl" was in
the making at the Sennett Studio, a
new Mabel made her appearance — a
grave, reliable and punctual Mabel.
The explanation probably is that
Mabel is very hard pressed finan-.
cially and realizes she has to get busy
and saw wood. Some of her invest-
ments have gone wrong.
(Sixty-two)
Boulevardier Chats
HARRY CARR
Mack Scnnett, on the other hand, is laid to h
made anothei fortune in real estate piled on top oi
tin- fortunes he alread) had 1 understand that
Sennett's realty holdings inside the city limits of Los
Angeles exceed one hundred -ami thirty acres, mostly
cit) lots and tracts being held for subdivision.
As a realty king, Sennett lias but one rival in the mo-
don picture colon) ; this is Ruth Roland who is said to
have made two mil-
lions in Hollywood
real estate during
the last five years.
And Miss Roland
says with the most
charming candor,
she still has the first
nickel she ever
made.
* * *
Conrad Xagel is
another realty mil-
lionaire. Conrad has
a very valuable
ranch near Duarte
in the foothills. On
it he raises melons.
Ever)- week he says
he goes out with the
firm determination
to give orders to the
realty men to cut it
up in subdivision
lots ; but the melons look so nice and green
and pleasant that he cant bear to do it.
Photograph by K. O. Rahmn
Above, Jack Pickford and his wife,
Marilyn Miller, on their own back fence.
Below is a scene from Warner Brothers'
"Little Johnnie Jones," with Johnnie
Hines in the center. Bottom of the page,
Eleanor Boardman and her director, Tod
Browning, snapped during the making
of "The Day of Faith"
By the time this appears in print, Mary
Picktord's keepsakes will be distributed
among the loving families of Hollywood.
Mary presented Rev. Xeal Dodd, the
"chaplain of Hollywood," with a whole trunk
filled with stuff to be auctioned off for the
benefit of his church. Among other
treasures was the little velvet suit she
wore in "Lord Fauntleroy" ; her lace
handkerchief which she used in "The
Street Singer." etc. There were
slippers and scarfs and all manner
of wearing apparel.
Speaking of Mary, they say her
studio speaks in hushed whispers of
the awful indignity that has occurred.
This young girl, Lucile Rickson, who
is announced by Marshall Neilan as
the rising genius of the age, is to be
in Jack Pickford's next picture and
she is to take the part that Mary her-
self had in a previous version of the
story. Instead of being properly im-
pressed, Miss Rickson accepted the
situation with such sang-froid that
she began to call Mary "old dear"
Above: Reading
from left to right
and upside down,
it is Malcolm Mc-
Gregor, keeping
fit for film fights
(Sixty-three)
CLASSIC
This is the age of
Youth, certainly. Here
is little Bruce Guerin
stopping the traffic in
"The Gold Diggers,"
and right is Miss Cal-
lista Riddles, a featured
player in "Mothers-In-
Law." Below is. Wal-
lace Beery proving a
disputed point to Kath-
leen Clifford. They are
Richard the Lion-
Hearted and Queen
Berengeria, tho we al-
ways thought that was
an ocean liner
and requested her to hand her a make-up box.
Miss Pick ford is a very democratic young lady ;
but "old dear" — well. The fact is that Miss
Rickson has attained the venerable age of four-
teen and that explains everything.
And as to Mary. . . . One day last week,
one of the Los Angeles newspapers published a
symposium of opinions from well-known citi-
zens, mostly bank presidents and such, about
what policy the city should pursue in its indus-
trial future, etc. Among those quoted was Mary
Pickford. Mary offered a plan of such sane,
sagacious reasoning, such breadth of vision and
withal of such practical and feasible value, that
it is probable it will be preserved in permanent
form.
There was a baseball game on the Fairbanks-
Pickford lot the other day in which Eddie
Sutherland, the assistant to Charlie Chaplin,
broke his wrist. To save question-
ing, Eddie had a card printed
which he had the head waiter hand
around to the guests at the cafe
where everybody eats luncheon.
The card said : "Believe it or not.
I hurt my wrist playing baseball.
It is not a permanent injury. It
will be well in six weeks. Thank
you."
Whether from policy or because
the Hollywood sunshine has
softened her heart, the lovely Pola
Negri has changed her methods.
Gone is the old hauteur. She loves
everybody now. She says "My
Tony_"*as she calls Senor Moreno,
is the finest actor she has seen in
America and that Herbert Bren-
,_ on is the best director she has
ever worked with. But she says, hereafter, she is going
to do her acting in her own way and not let anybody
bamboozle her into the idea that Americans demand
restraint in acting. Not to be outdone by Mary
Pickford's version of the same story, Pola's picture.
"The Spanish Dancer," will have some of the most
gorgeous sets ever seen in motion pictures.
That other brilliant Polish lady, Nazimova, is
decorating Hollywood with her presence again. Nazi-
mova looks charmingly young and beautiful and mys-
terious. Whenever you met anybody in Hollywood,
they used to say "Howd' do" ; but now they say
"Hello-o-o-o-o." When Nazimova does, it sounds very
spiffy and cultured but when the others try it, it sounds
very much like a yodeler practising his art.
Norma Talmadge has been held up with her new
picture. "The Dust of Desire," by an untoward circum-
stance. Her director, Miss Frances Marion, has
whooping-cough.
* * *
All of which brings us to another point.
^Continued on page 72)
Pictures
(Sixty-four)
Spreads smooth
dries quicker
-Ihe new liquid polish
A polish that will not form lumps and
gummy ridges on the nails. That spreads
smoothly mi<1 evenlj all over the nail. It
is tinted |iist the shade that fashionable
women are using this season.
Every requirement tor a liquid polish
was considered when Cutex was working
out this formula. The new Cutex Liquid
Polish dries almost instantly. Before you
hue finished the second nail the first is so
drv and firm, touching will not mar it. It
will not peel off, nor crack. Its brilliant
even lustre lasts a whole week.
And finally, it needs no separate polish
remover. When you are ready for a fresh
manicure you just put on a fresh coat of
Liquid Polish, one nail at a time, wiping it
off instantly before it dries. This leaves
your nails smooth and clean, ready for the
fresh manicure.
You can get Cutex Liquid Polish for 35c
or in the $1.00 and #3.00 sets. Sets with
other polishes are 60c and $1.50.
Charming Introductory Set
including the new Liquid Polish now only 12c
Fill out this coupon and mail it with 12c in coin or stamps for the
Introductory- Set containing trial sizes ot Cutex Cuticle Remover,
Powder Polish. Liquid Polish. Cuticle Cream ^ Comfort i. emery
hoard and orange stick. Address Northam Warren. 114 West 17th
Mew York, or if you live in Canada, Dept. N10, 200 Mountain
St , Montreal, Canada.
MAIL THIS COUPON WITH 12c TODAY
NORTHAM WAR R FN. Dept SI .0
1 14 West i-th St , New York
I enclose lie in stamps or coin for new Introductory Set
including a trial bottle of the new Cutex Liquid Polish.
Cutex
Polish,
(Sirtyfive)
The Happy Hour
Posed by Johnnie Walker and Mildred June in "The Worm"
MB. — This charming tho innocuous portrait was substituted at the last minute
fora page of burning kisses from "Alimony," because, forsooth, it caused both a
managerial and an art department blush!
(SixtysixJ
(^y{ow do they accomplish it ?
The women who give their skin the hardest wear
manage to keep their races young long after
other women have grown old and unattractive.
THE actress gives lie r complexion harder wear and demands
more of it in return than any other woman. She must keep
her skin tine and clear though she covers it with cosmetics. It
must he fresh in spite of late, weary hours.
How does she accomplish this? By careful study of her skin
she has discovered the two indispensable things it needs to keep
it in the fresh, heautifully supple condition she demands.
First the perfect kind of cleansing at night that leaves the
face soft and clear — every bit of dirt, every trace of cosmetic.
every shadow of weariness taken away. Then the exquisite
morning freshening that keeps the skin flower- like through th<
dav and guards it completely from every coarsening thing.
These are the two fundamentals of skin loveliness. For these
two things many well-known actresses depend on the two en-
tirely different creams that Pond's developed especially for this
method of keeping a woman's skin young and fresh — Pond's
Cold Cream and Pond's Vanishing Cream. And many other
women write enthusiastically about the smoothness these creams
give their skin.
See what this famous method will do for you
Do this every night. With the finger tips or a piece of
moistened cotton, apply Pond's Cold Cream freely. The very
fine oil in it penetrates every pore of your skin. Then wipe it
off with a soft cloth. Dirt and excess oil, the rouge and powder
you have used during the day are taken off your skin and out
of the pores. Do this twice. Your skin looks fresh and is
beautifully supple.
And every morning, smooth on Pond's Vanishing Cream
evenly. If you wish, rouge — powder. How smooth and
velvety your face feels to your hand ! Nothing can roughen it.
And it will stay that way all day.
To see how Pond's two creams actually improve your skin,
use this method regularly. Buy both creams today in jars or
tubes. The Pond's Extract Company.
Mae Murray, one of the most allur-
ing of screen itart, says, I have
found that Pond's Two Creams give
the complexion a lovely freshness and
smoothness . "
Charming Peggy Wood says,
"Pond's Cold Cream cleanses easily
and leaves my skin feeling fresh.
Then the I/anishtng Cream u a love-
ly smooth base for powder.
I'hitto hu Edward Thaifr Monro*
Every skin needs these Two Creams — The
Cold Cream for cleansing. The Vanishing
Cream to protect and to hold the powder
The common troubles that make a woman's skin look
older — Pond's two creams banish them
Accumulation of oil and dirt in the pores. For this condition
cleanse every night with Pond's Cold Cream, which is so light
it penetrates the glands and takes out excess oil and dirt together.
Then every morning put on Pond's Vanishing Cream to keep
your face fresh through the day.
Premature wrinkles, scaling, dry shine — are especially the
troubles of a dry skin. To avoid them, keep your skin soft day
and night. Cleanse with plenty of Pond's Cold Cream nightly
and keep some on over night. Feel your skin relax. Then by
day Pond's Vanishing Cream prevents your skin from drying
out again.
Coarsening Sun and Windhurn. The daily repetition of
weather damage ages your skin. For everyday exposure, use
faithfully the nightly Pond's Cold Cream cleansing and in the
day the delicate yet sure protection that Pond's Vanishing
Cream gives.
GENEROUS TUBES— MAIL COUPON WITH 10c TODAY
The Pond's Extract Co ,132' U Hudson St., New York
Ten cents doc> is enclosed lor your special introductory tubes of the two creams
every normal skin needs enough ot each cream for two weeks' otdinary toilet uses.
Name ...
Street
City State
( Sixty seven)
No. II
Ups and Downs in the Life of a Star
No. I
Douglas MacLean and Marjorie
Daw in all too realistic scenes
from "Going Up." You know
what happens to what goes up
. . . but if you dont, just study
the picture on the right. . . .
(Sixty-eight)
^rflK- > ^^|
pf
k i 1
5t o- J|
Eft •' irt'
If *M
1 *U t^F*? • $
* ^ ' I IF :
Br ^fl E
Beauty at Your Finger Tips
TODAY, as the possibilities of intelli-
gent care of the skin are becoming
more generally realized, it is literally true
th.it thousands upon thousands of women
are growing younger in looks, and likewise
in spirits.
The secret of restoring and retaining a
youthful complexion lies chiefly in the
faithful and well-directed use of the proper
sorts of face creams. The constant employ-
ment of creams by actresses in removing
make-up is largely responsible for the clear-
ness and smoothness of their skins.
First, the beautiful skin must be clean,
with a cleanliness more thorough than is
a t tain able by mere soap-and-water washing.
The pores must be cleansed to the same
depth that they absorb. This is one of the
functions of Pompeian Night Cream. It
penetrates sufficiently to reach the em-
bedded dust. Its consistency causes it to
mingle with the natural oil of the pores,
and so to bring out all foreign matter
easily and without irritation to the tissues.
The beautiful skin must be soft, with
plastic muscles and good blood-circulation
beneath. A dry, tight skin cannot have the
coveted peachblow appearance; set muscles
make furrows; poor circulation causes pale-
ness and sallowness.
Pompeian Night Cream provides the
necessary skin-softening medium to skins
that lack the normal degree of oil satu-
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facial muscles, stimulates the blood circu-
lation, and tones up all the facial tissues.
Upon retiring, first use Pompeian Night
Cream as a cleanser; apply with the fingers
and then wipe off with a soft cloth, freeing
the pores of all the day's accumulated dust
and dirt. Afterward apply the cream to
nourish the skin, leaving it on over night.
The faithful following of this simple
treatment works wonders in the skin-
removing roughness, redness, and black-
heads, and warding off wrinkles, flabbiness,
and sallowness. It is the most approved
treatment for restoring and retaining a
youthful complexion.
Pompeian Night Cream (New stvlc j*r) (yoc per jar
Pompeian Dav Cream (vanishing) boc per jar
Pompeian Beauty Powder
Pompeian Bloom (the rouge)
6oc per box
6oc per box
New 1924 Pompeian Art Panel and Samples
Sena1 coupon with ten cents for beautiful new tg2 / Pompeian .1rt Panel,
"Honeymooning in the Alps." With this panel we send samples
of Pompeian Sight Cream, Day Cream, Beauty Powder, and Bloom.
POMPEIAN LABORATORIES, 2128 Payne Avenue, Cleveland, Ohio
Also Male in Canada
t — * ~-rii^HMi.
own
Cleansing and Skin- Nourishing
I '■><-, asting ) out Autumn
Complexion
H> MMI Ji . .si 1 1 ►
A little- foresight no :i will la) the 1
dation for the- health ind beaut) of
skin (luring thr tr\ ing da) of t! 1
It is during thrsc 1 ith that
woman ihould form the habit ofrarrful
il.iily attention in her • kin in-r I
neck, ihouldera, arms, and h 1
/' '/'/ 1st )'',ur Skin Get 1 >■
After the man) hours of out-of-door
life that always romc with sun.
e\t-r\ woman's skin tend* toward an un-
healthy dryneu. Pompeian Night Cream
is the exact cream to use .tt this time h
hai every propertj neccsaar) t.i coun-
teract dryneu. It is a direct agent for
unitary cleansing, and it smooths and
softens the drv tissue of tlit- ..kin till thr
pom again have a chance to "breathe."
I would advise a generous application
of Pompeian Night Cream u unfailing!)
as you go to ht-il at night.
Rul) the cream well over thr surface,
but do not attempt to rub hard; it is
better and easier genth to fiatthe cream
into tlu- skin. Strike the surface covered
with cream by using the flat of the
fingers — quick little blows, anil continue
till at least some of the cream ha- dis-
appeared.
Use M>ft cloths to wipe away the re-
maining traces of the cream, and what-
ever may remain will soften the skin
during- your hours of sleep.
. 1 torning Loveliness
The first thing in the morning the
skin may be asleep," anil there is
nothing more helpful to arouse circula-
tion than a wholesome splashing of cold
water.
Pat the face dry with your towel, or
your bare hands if you prefer.
When you apply Pompeian Da)
Cream, take care to spread it on all
parts of the skin, and to blend it
smoothly till it disappears.
Powder and Rouge
The Pompeian Beauty Powder should
cover the neck and face with even thick-
ness so you will not have a face of one
tone and a neck of another.
Pompeian Bloom (the rouge 1 comes
in a convenient little compact that rubs
off easily for use and stays on well for
the user. The new Orange tint is sur-
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with the N'aturelle or Rachel tint- ol
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Pompeian Lip Slick
This final touch is essential with the
rose-petal checks — and its color is na-
tural and healthy-looking.
■ ttliste en Beaute
TEAR OFF. SIGN. AM) SEND
I'OMPEIAN I .A BO K .VI DRIES,
:i2S Pa»nr Avenue, Cleveland, I
(ienllrmrn : I rnclo*c 10c (a dime prrferf-.:
1924 Pompeian Art Panel, "Hooeymnoninc in the
Alps," anil thr lour samples namrtl in offer.
Namr_
MdreK
Cm
What tha-l*- fare powdrl WW '•
(Sirty-~ntnt> )
^ifcnoviefoc^clopdedi
_,
Elsie Baby. — Great things often result from little words of
encouragement. Here's my hand, shake ! Yes, Ramon Navarro.
Address the players you mention at Famous Players-Lasky, 1520
Vine Street, Los Angeles, Cal.
Vera W. — Yes, those were real tears ; tears the silent language
of grief. Address Rod LaRocque at Famous Players, address above.
I. C. H. Little Rock. — Thanks for all the kind things you
say about this department. You say love is a bird that sings
in the heart of a woman. Yes, and some men are birds too.
Address Dagmar Godowsky, care of Frank Mayo, Goldwyn,
Culver City, Cal. Write me again.
Majorie, Cal. — Well, you cant expect perfection all the time.
Yes, and there will always remain something to be said of
.woman, so long as there is one on the earth. Barbara La Marr
is to have the lead in "Damned." Yes, Joseph Schildkraut is to
play opposite Norma Talmadge in "Dust of Desire."
Edith P. — Come again Edith.
Sinclaire III. — Sounds like the name of a boat or something.
I love these letters starting in "Several years ago I saw" and then
to go on describing the picture. I'm sorry, my cljild, but ' I
cannot tell you the name of the picture you describe. I'm more
sorry than you are. Mrs. Wallace Reid is twenty-eight.
Better luck next time.
Brown Eyes. — You cant quarrel with me, my lady, it takes
two indiscreet individuals to make a quarrel and I shall not be
one of them. Yes, Malcolm McGregor is married, and his last
picture was "The Social Code" with Viola Dana. Rodolph Val-
entino expects to play in Ritz-Carlton Pictures, which he will
start when his contract ends with Famous Players. No I dont
mind answering questions. I wouldn't be able to draw my
salary if I didn't answer questions.
Box 2576. — You neglected your John Hancock. I should say
Dorothy Dalton is still living, but not married. Playing in "Leah
Kreschna." Well, if you have a good library in your town you
have a university. Why Edith Roberts and Taylor Holmes will
play with George Arliss in "The Adopted Father."
Marie S. — No your letter didn't give me a headache, thanks
for the aspirin, however. That's what I call foresight. Thanks
for your generosity, but I would rather you wouldn't send the
cow. It would be a bit inconvenient in my hallroom. I'm
quite able to get buttermilk at the dairy. I dont think Valentino
has a brother, and I dont see how I can help you get into pictures.
Come in again some time.
Tex. — Dont forget that it is awfully easy to be critical, but
awfully hard to be correct. Madge Bellamy was born in Waco,
Texas. Katherine MacDonald is twenty-eight and Madge Evans
sixteen.
Carol F. Detroit. — There are very few successful gamblers
in the world ; and they are failures in everything else. Most com-
panies are buying stage plays for motion-picture production. I
wouldn't know who to tell you to write to. If other's purses
be more fat, why should we groan and grieve at that. I'm happy
with my $10.50 per.
Miss Proxide. — You cannot ex-
pect everlasting happiness in this
world. Happiness, like the blue of
the sky, cannot always last, for as
the earth needs rain, to yield its
fruits, so man needs tears to
estimate life at its true value. Wil-
liam Farnum is married to Oliva
White. So you would like to meet
Richard Dix. Address Gloria
Swanson at Famous Players. Mar-
guerite Courtot is in New York.
Her last picture was "The Stead-
fast Heart." Well, she has recently
married Raymond McKee.
Ruthie. — Of course I sleep on
This department is for information of general interest
only. Those who desire answers by mail, or a list of
film manufacturers, with addresses, must enclose a
stamped, self-addressed envelope. Address all in-
quiries: The Answer Man, Classic, Brewster Build-
ings, Brooklyn, N. Y. Use separate sheets for matters
intended for other departments of this magazine. Each
inquiry must contain the correct name and address
of the inquirer at the end of the letter, which will not
be printed. At the top of the letter write the name
you wish to appear, also the name of the magazine you
wish your inquiry to appear in. Those desiring imme-
diate replies or information requiring research, should
enclose additional stamp or other small fee; otherwise
all inquiries must wait their turn. Let us hear from you.
a bed, did you think I slept on the piano? The Ancients slept
on skins. Beds were afterwards of loose rushes, heather or straw.
The Romans are said to have been the first to use feathers.
An air cushion is said to have been used by Heliogabalus, 218-222
A. D., and air beds were used in the sixteenth century. Feather beds
were used in England in the reign of Henry VIII. The bed-
steads of the Egyptians and later Greeks, like modern couches,
became common among the Roman upper classes. Enough of that.
No, Richard Dix is not married. Tom Mix is married to Vic-
toria Forde. Yes, she used to play in Western pictures years ago.
Thanks for your good wishes.
Martin. — It is like playing ping-pong with a medicine-ball to
answer questions like yours in this department. This is no
place for essays. To answer your questions the way I want to,
would take two or three pages. Yes, Glora Swanson is playing
in "Zaza" and you can reach her at Famous Players. Antonio
Moreno has played in "My American Wife." "The Exciters"
and next in "The Spanish Dancer."
Box 2576. — What again ? I'm afraid you will ■ have to try
that job yourself. Madge Kennedy has started her second pic-
ture, "Beyond the Salt Frontier" for Kenma. Neysa McMein
wrote the story, and Anita Loos and John Emerson put it in
scenario form. That's it, courage counts.
Miss Dorothy. — Well, if you love life, dont squander time,
for that is the stuff life is made of. Ivor Novello is twenty-
four ; Kenneth Harlan twenty-eight and Conrad Nagel twenty-
seven. Vivian Martin is on the stage and Justine Johnson is in
Europe. Constance Binney has just signed a contract with C. C.
Burr and she will play in "Clipped Wings." Katherine
MacDonald's last was "The Scarlet Lily."
A Navarro Fan. — I wish I could help you, but the greatest
pleasure of life is love. You will have to take your own choice,
the question was — which is the better at kissing, Rodolph Val-
entino or Ramon Navarro. Your drawing was good, but it bears
not the slightest resemblance.
Wanda R. — No, I dont care whether you write on your
mother's paper or not. Norma Talmadge's "Ashes of Vengeance"
is to be shown at the Carnavolet Museum in the Paris, as well
as at the Apollo Theater in New York, for an indefinite run.
Yes, Mary Pickford's last is "Rosita."
Leona W. — Insurance is an effort to discount death and des-
tiny. Build up your own insurance surplus by right living, simple
eating and plenty of sleep and exercise. You'll find too, that your
enjoyment of things takes less force with good health and spirits
back of you. May Murray has blue eyes, and blonde hair. Yes,
she used to dance in New York. Yes, Alice Terry wears a blonde
wig in pictures.
Betty C. Swampscott. — No, I have no record of the present
whereabouts of Betty Carpenter. William Collier, Jr. was the
hero in "Cardigan."
Aleen. — Well if you fight, fight for honor, glory or money,
whichever you are most in need of. May Murray is married to
Robert Leonard, her director. No,
Eugene O'Brien has never been
married.
Lenore. — How about this for
speed? You refer to Robert Frazer
in your first and Eddie Burns as
Buddy. Frances Ring is Mrs.
Thomas Meighan.
Sarie. — Yes, I believe there will
always be wars. Tearing down the
work of ages and building up anew
cannot be accomplished without
tremendous shock. Robespierre,
Danton, and Marat tore down and
Napoleon built up. The shock that
split Europe wide open and shook
(Continued on page 73)
(Seventy)
.
COL.ATES
\)f fVlade for Candy Jo vers
If you want to see the
sparkle in her eyes, take
home tonight a package
of Booth's Chocolates
NOT just candy, this — but sweets made to order
for those who know and revel in the best —
"made for candy lovers."
Think of rich cream delivered daily from our own
nearby dairy farms ; creamery butter of the finest
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been rolled and rolled until they are smooth as velvet ;
fruits grown in the garden spots of the world and only
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and all this deliciousness and wholesomeness coupled
with twenty-eight years of candy-making experience
gives you Booth's Chocolates. Is there any wonder
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Tonight on your way to the "show" drop in at the
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and purchase a package of Booth's Chocolates — you'll
enjoy the "pictures" much more.
In addition to Booth's True Blue Chocolates pictured
above, other favorites are — Booth's Butter Chocolates.
1 lb., $1.50; Booth's Esther Chocolates, 1 lb., $1.25;
Boothls Candy Lovers, 1 lb., $1.00.
If not conveniently obtainable in your locality,
your money order to us for any package desired.
BOOTH'S CHOCOLATES
Elmira, New York
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( Seventy-one)
^s
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Viora Daniels of Christie Comedies
The Hollywood Boulevardier Chats
(Continued from page 64)
last year gave you the impression
they had been named by some one
who worked in a match factory.
They were Eternal Flames and Em-
bers of Remorse, and Fires of Pas-
sion, and Coals of Agony and Ashes
of Vengeance. Now they have re-
turned to dust. There is Norma's
"Dust of Desire," and Frank Borsage
has one called "Dust on the Door-
step," and there's "Children of the
Dust." And I suppose Buster Keaton
will be getting out one like "The
Duster."
Bennie Zeidman is on a still hunt
for another boy genius to appear in a
Peck's Bad Boy series that he is about
to make for Sol Lesser. He wants to
find another Jackie Coogan. "I sup-
pose," he said .to one anxious mothe-'
"that this remarkable child of yours
is more talented than Jackie Coogan."
The woman nodded. And when
Bennie added, "Every woman that
comes in here tells me her child is
more remarkable than Jackie
Coogan." "Yes," the woman said
eagerly. "But my dear man ; you dont
understand. My child is not like
the others : he really is more remark-
able than Jackie Coogan." But the
fact still remains that every producer
Peck's Bad Boy series that he is about
Baer Bros. Co.
6> MAIDEN
- N E \V V O R K
Lucien Lit-
tlefield with
a strange
c ir c ular
hirsute
adorn ment,
w h i cl
causes him
-c o nsider-
able dis-
tress
He goes out
only after
dark now.
He had to
grow 'em
that way
for his part
as the Jest-
er in "The
Palace of
the King"
(Seventy-two)
I
The Movie Encyclopaedia
mtmued frotn PaQ* 70)
the world w;is the greater became thai
a. i- accomplished in |WO or three dee. ides
which would ordinarily require centuries
Progress is always preceded bj calamity.
That which appears to be calamity is often
a blessing in disguise. Here, here, when
I get Started, I never know when to stop
Niles Welch in "Reckless Youth." Dell
his wife.
\rn.\ B. — So you think I look like
that. Irene Castle is rive toot eight inches,
and she is free from Robert rremain
(maybe). Yes, Elsie Ferguson is also free
■ her husband, Thomas Clark. I'm
also free — from women.
Little Westerner. — Anna Q. Xilsson
has been married twice so far as I know.
Now she is Mrs. John Gunncrson. Mary
Pick ford was Mrs Owen Moore. Jane
Novak has a daughter Virginia, aged six,
hut I dont think she ever was a dancer.
Moi.i.ik and MovtA.— All the way from
Australia. James Kirkwood has just mar-
ried Lila Lee. She is twenty-one and he
is forty. I wish them luck. Yes indeed
Bebe Daniels is full of pep in real life.
Bryant Washburn and his wife are play-
ing in "Mine to Keep." A proper and
fitting title for man and wife. And let
it ever be thus. Stop in again some time,
girls.
The Nightingale's Eyebrows. — Now,
I ask you! I know of no cure for grey
hair. There are various remedies that will
restore color so long as you keep using
the preparation, but nothing will turn it
permanently. . When you get up in the
morning and discover that grey hair No.
20 has made its appearance, dont get the
ijlooms, but smile sweetly and say "Ah,
wisdom and good sense are coming. For,
every hair that fades or fades away,
figure that you are the gainer by about one
ounce of brains." Do you want to hear
any more? Pauline Garon is twenty.
Betty Compson is to make four pictures
abroad. The Gish girls are with Inspira-
tion. Gloria Swanson's daughter Gloria
is two years old. Right at this address.
Shirley K. — So you want more of
Pauline Garon. I'll see what can be done
with the editor-lady.
Yankee Girl. — Yes, I must admit that
my beard is growing day by day. Harri-
son Ford in "Little Old New Y'ork." You
write a very interesting letter. Stop in
again.
Betty and Bessie. — The two bees.
Glad you like music. Even a hand-organ
sounds good to a person in love. There's
one stops in front of our building about
three times a week. Yes, Viola Dana,
Shirley Mason and Edna Flugrath are
sisters. Leatrice Joy about twenty-five.
Marguerite • de la Motte was Constance
in "The Three Musketeers." Yes,
Marion Davies bobbed her hair. Priscilla
Dean is Mrs. Wheeler Oakman. Miriam
Cooper is twenty-seven. Mae Murray
also twenty-seven. Marion Davies twenty-
six. Johnny Hines and Mollie Malone
with Warner Brothers.
Retiia F. — But the nervous fluid in man
is consumed by the brain, in woman by
the heart; it is there that they are most
sensitive. So you are fond . of Jobyna
Ralston. So am I.
Helene C. Mc— But the heart of a
woman never grows old ; when it has
ceased to love it has ceased to live. Ad-
dress Baby Peggy at Century Comedies,
Jackie Coogan at Metro and Alice Brady,
Famous Players. Mary Philbin is twenty.
John Gilbert twenty -eight.
{Continued on page 85)
In manicuring,
u sottens the
Cut icle, pre-
vents soreness
and adds to lus-
tre of nails.
Hinds Cream cleanses
the pores, heals sore,
eruptive conditions,
ind refreshes sallow,
withered complex
Q/rotcctina
wipe
ion
A perfect base for face pow-
der. Apply a little cream.
When nearly dry dust on the
powder.
Hinds Honey and Almond Cream is a sooth-
ing, refining cream that by daily use prevents
any tendency to roughness or irritation. An
invigorating cream that tones and freshens
and protects the complexion from injury by
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that softens the skin to -a velvety texture.
This cream is so simple to apply, so sure in
its improving results that it readily becomes
the favored complexion cream of all who try
it. Its economy is due to the small amount
required— only enough to moisten the skin.
Let the use of Hinds Honey and Almond
Cream become a part of your daily program.
Alkalii
ern states dries and irritates
"he skin Use Hinds Cream.
To keep the hands smooth
and attractive all day. To
relieve catchy fingers
while at work.
Hinds Cre-mis Face Pow-
der, surpassing in quality
and refinement; distinctive
In fragrance and effect.
White, flesh, pink, bru-
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Samples 2c.
All dealers sell Hinds Honey and
Almond Cream. 50c, $1.00. We
will ma il a s.imple for 2c. trial bottle
6c. travel r size 10c. Tiy-out Box
of 5 samples, assorted, 10c. Booklet
Free. A. S. Hinds Co., Dept. 22,
Portland, Maine.
Use after shaving to /
make the skin com- /
fortable and relieve '
irritation from soap^
or close shave
' Seventy-three)
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(Stat* musical intlr-u m*nt in which you art intcr»»Ud. )
George Hackathorne and Claire
McDowell, who has been his screen
mother in four successive pictures
The Hollywood Boulevardier
Chats
(Continued from page 72)
in the world is searching the world
for another Jackie Coogan — and not
finding one.
* * *
The most promising lad now in pic-
tures is little Ben Alexander who
made his first appearance as a tiny tot
in Griffith's "Hearts of the World"
but who is now half grown — enough
so to make a hit in "Penrod and
Sam." He has been signed for a long-
term contract "by Maurice Tourneur.
* * *
Bill Hart's return to the screen is
being received with great acclaim.
The other night he appeared with a
number of stars at the Motion Pic-
ture Exposition. He received the
greatest ovation of them all, althp the
aggregation included such celebrities
as Mary Pick ford and Pola Negri.
* # *
"Lilies of the Field," the New
York stage play which ran for seven
months at the Klaw Theater, is to be
filmed by First National.
Donald Crisp has gathered together
a collection of extras for the soldier
scenes of "Ponjola" which looks like
an officers' club. Nearly every one
in it is a former British officer and
many are titled. Just by way of con-
trast he has one full-blooded Zulu.
For years Carmel Myers and
Bessie Love have been pals. They
went to school together and
have been the closest friends ever
since. During all these years they
looked forward to playing in a pic-
(Continued on page 87)
(Seventy-four)
How the One Natural Color for Cheeks Was Found
Day and Night Tests That Told Why gouge's
Familiar Shade Was Wrong — and Eventually
Duplicated c^aturc*s Own Color
MOST WOMEN
now know and
use the new natural
tint which is fast re-
placing the unscien-
tilicand unsatisfactory
purplish-red rouges.
But how many are
awareof the peculiarly
interesting story of its
discovery?
We are apt to take
the most marvelous
discoveries of this age
as a matter of fact —
even one of such im-
portance to the realm
of beauty as a tint that
is a perfect match for
Nature's own artistry !
Suddenly science
gives the world of
women a tint which
tinges the cheeks in such a true
tone as the very strongest sun's
rays, or the weirdest effects of
night lighting cannot separate
from the underlying flesh tone,
and we accept it without thought
of how it came to be.
Yet behind the simple,
single tint which gives
any and all complex-
ions a divine and per-
fectly natural mantle
of color is the story of
man's indomitable
perseverance — two
years' ceaseless ex-
periment — over two
hundred failures, and
eventual success.
The search for the
perfect tint led a digni-
fied Scientist tO a Cel- "'Beneath Trying
lar's depths — and to
the roof of a city's tall skyscraper.
Tint after tint— tone upon tone —
were tried .in every conceivable
light. In noon's glare, atop a high
roof. In the streets below, where
the sun's rays filtered through
In "typon's Glare, Atop a High Roof"
fog and smoke. And in the arti-
ficial lights of night— trying lights
in which old-fashioned rouges all
became the same ghastly, or un-
lovely purplish red.
On a patient assistant's cheeks
shade after shade was
tried. Some of the
shades required in-
gredients from far
countries- many were
days in the blending.
Then, suddenly it
happened.
The Tint That Was
Tried In 'Desperation
One morning the sci-
entist used in his mor-
tar one of the rarest
ingredients in the lab-
oratory. It was of pe-
Artificiai Light" culiar orange hue.
Scarcely a color to try
on the cheeks! But he idly applied
it on his assistant's cheeks — and a
startling change took place. The
peculiar orange tint altered in-
stantly to the true tone of the skin
beneath! Still doubtful that he
had found (he one key tint for
any complexion under all
conditions— in every light —
they hurried to the rod and
put the new tint to the severe
b i of direct sunlight '1 he
same beautifully din used, nat-
ural color! I )own to adarkencd
room, where neither glaring
incandescent lamps nor var-
iously shaded rays of
electric light revealed
anything but a color-
ing that appeared Na-
ture's own! The same
day, preparations
were started to supply
the demand that such
a discovery was cer-
tain to create. Now,
this new Princess Pat
Tint is an article of
standard use.
It enhances the color of
countless women who had
steadfastly declined to use
any of the old-fashioned
rouges which are so obvious
in even the ki.idwSt light.
Trincess Tat Tint is Waterproof!
Where the new natural tint is made, fur-
ther improvements have transpired; a less
costly use of the chief ingredient has
brought its price within reach of all; an
entirely new process has rendered it ab-
solutely waterproof! Even a morning in
the surf will not streak it! Princess Pat
Tint is not affected by perspiration, so it
is worn without concern the day long, or
evening through! Yet it vanishes instantly
with a touch of cream, or use of soap.
On any complexion, remember there is
need for only one shade. There is no un-
certainty of matching; for the one tint
is instantaneously
transformed to
blend with any type
— blonde, medium
or brunette; and this
tint may be applied
as lightly or as full
and deep as you
choose — with the
same perfection of
result.
m
The ^(ew, eNatural Tint Al-ways Ask for It by Name
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Princess Pat Tint Ice Astringent Creams Almond Base Powder Princess Pat Perfume
FREE
Until the shops have been sufficiently
stocked with Princess Pat Tint to meet all
calls for it , we shall take pleasure in sending
to individuals a week's supply— without
charge. At no cost to you and without any
obligation, your prompt use of coupon be-
low will bring to you Princess Pat new,
natural tint.
PRINCESS PAT. LTD.,
2701 So. Park Ave., Dept. 410. Chicago
ENTIRELY FREE, please forward me
postpaid, a complimentary supply of the
new Princess Pat Tint.
Name (Print).
Street
City
(Seventy-five)
I i
These groups of stockholders illustrate the rapid growth in ownership of the Bell System.
A Community of Owners Nation-wide
"Who owns the company?"
"What is behind it?" These
questions are asked in apprais-
ing the soundness of a business
and in determining its aims.
The American Telephone
and Telegraph Company is
owned by more than 270,000
people living in every state in
the Union. Could the stock-
holders of the Bell System be
gathered to one place, they
would equal the population of
a city about the size of Provi-
dence or Denver.
They constitute a representa-
tive cross-section of American
citizenship. Among them, of
course, are bankers and men of
large affairs; for the idea of
ownership in the Bell System
appeals to sound business judg-
ment and a trained sense of
values.
In this community of owners
are the average man and woman,
the storekeeper, the clerk, the
salesman, the professional man,
the farmer and the housewife —
users of the telephone who with
their savings have purchased a
share in its ownership. The
average individual holding is
but twenty-six shares.
No institution is more popu-
larly owned than the Bell
System, none has its shares dis-
tributed more widely. In the
truest sense it is owned by those
it serves.
" bell System"
American Telephone and Telegraph Company
And Associated Companies
One Policy, One System, Universal Service, and all directed
toward Better Service
You can complete
this simplified High
School Coarse at home
inside two years. Meets all requirements for en.
trance to college and the leading professions. This
and tbtrty-atx other practical courses are described fo our
Free Bulletin. Send for it TODAY.
AMERICAN SCHOOL
Wept. H7. 62"rexel At. A SBUj St. © A.S.1923 CHICAGO
ARTISTS EARN BIG MONEY
We can teach you drawing In your home dur-
ing spare time. Successful artists earn from
$40 to $250 a week. Thousands of publishers
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THE MODERN INSTITUTE OF ART
7 East 42nd Street Studio 50 New York City
That scentless
" fraerance — how to achieve it
■ almost imperceptible fragrance winch adds so much to personal charm is just one
the jovs of bathing In water thai lias been perfumed and softened with Bathaswect.
cleanses more quick!] and complete]] than tin- ordinary bath, it does m>i
cover up body odors, but it actually cleanses them sway. So refreshing! .lust
trj it I Gel Bathaswect at Drug and Department Stores 25c, 50c, $1.
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THE C.S.WELCH CO.. Dept. A.B., NEW YORK CITY
Ashes of Vengeance
{Continued from page 31)
Then my noble lister went straight
way to our brother Charles and be-
spoke Rupert's freedom. So elo-
quently did she plead his cause that
Charles was moved to absolve him
from his oath of service and said so,
right magnanimously.
Rupert was surprised and gratified,
yet hurt. He was sure now that
Yoeland did not care for him, since
they were allowing him to go away.
Incredible to say, he did not now want
his freedom. I was heart-broken and
wept grievously for hours. Yoeland.
the haughty, cried too and when I
saw her tears I marveled at them.
I am sure I do not know how it
would have ended if she had not
broken down when Rupert came to
bid her farewell. Slowly the realiza-
tion dawned on him and such amazed
delight blazed in his eyes that had I
been looking into them instead of
Yoeland, I should have been blinded.
"Yoeland," he murmured, "Yoe-
land, my beautiful," and took her in
his arms and kissed her on the lips.
I turned my head away. It \va>
too great ecstasy for me to see.
They are to be married within a
fortnight and so that ends the feud.
For neither Charles nor Rupert dare
fall under the displeasure of My
Lady Yoeland. That would be too
grave a risk, as both of them love
her too well.
And now the story is ended — or
rather just begun. The two lights
of night and day shine soft across
the castle walls, making long shadows
on the grass, and I am very tired,
but oh, so happy.
Divine Discontent
{Continued from page 22)
Alma: I'd leave the screen and
take to the pen.
Myself {incredulously) : You
cant mean that you would rather
scribble than star? Personally, I
cant imagine what has brought you
to such a pass.
Alma: But what does it all
amount to, after all? What does it
get you ? Where does it get you ?
A little money, easily spent. A little
fame, easily forgotten. A little tem-
porary glory. An illusion. While
your youth lasts, or your good looks
. . . then . . . poof!
Myself: But there are those who
survive indefinitely. After all, life
itself is indefinite. Nothing goes on
forever. The true artist . . .
{Continued on page 84)
(Scvcnty-six)
Reduces 53 Lbs* in Nine Weeks!
Society Leader Takes Off Every Pound of
Excess Weight— From 191 Lbs. to 138 Lbs.
Mrs. Bayliss Tells the Way She Did It
NKVER dreamed
you could do it
Mr. Wallace,"
wrote this well
known young
matron of Phila-
delphia's social
elect Her letter
is dated in Febru-
ary, and refers to
reducing records
WALLACE purchased late in
November. A reduction of more than
fifty pounds in three months! But read
her own story:
"Here I am, back to 138 lbs. after
my avoirdupois had hovered around the
impossible two-hundred mark! Your
perfectly wonderful music movements —
nothing else — did it. You have reduced
my weight from 191 to 138, and light-
ened my heart as no one can know who
has not had activities and enjoymentscur-
tailed for years — and suddenly restored.
"Thanks to Wallace I am dancing,
golfing and 'goms' as oi yore. Best of
all, I am back in
the saddle. Because
I once laughed at
the idea of getting
thin to music' 1
offer in humble
apology this letter,
my photograph and
permission to pub-
lish them should
you desire.
Very sincerely yours,
Jessica Penrose Bayliss."
How It Was Done
Most women of bulky figure would
make almost any sacrifice to attain the
symmetry Mrs. Bayliss' photo reveals.
But you need not sacrifice your health,
comfort, or even convenience. The
process is enjoyable. You use Wallace's
records but ten minutes a day! Yet the
reduction is felt within five days of
starting; the second week will bring a
noticeable improvement; the third or
fourth week will find you lighter by
many pounds.
The beauty of Wallace's method is
its absolutely natural reduction, and
redistribution of weight. Unlike the drastic
dieting and drugging methods, there is
no loss of flesh where you cannot afford
to lose it.
Observe the photograph ; do you see
any suggestion of gauntness in face or
What You Should Weigh For
Your Height and Age
Height
Age Age Age Age
20 to 29 yrs 30 to 39 yra 40 to 49 yre 50 end Over
in
Inches
Lbe. Lbs. Lbs. Lbs.
60
HI 116 188 125
61
118 118 124 127
115 120 127 180
63
Hi 188 130 133
64
188 127 133 136
65
125 131 137 140
66
129 135 141 145
67
133 139 145 150
68
137 143 149 155
69
141 147 153 159
70
115 145 156 163
neck — or flabbiness of armsr* The
Wallace reducing records play away
only excess flesh.
There Is No Need of Starving or
Otherwise Punishing Yourself
Scores of society women have re-
duced by this now famous course in
reducing, Many of them wouH never
have done so had it required thv stren-
uous and tedious effort and self-denial
once thought to be the only means of
defeating superfluous flesh. ' It is down-
right fun" is what most folks say, from
the first day they take up this exhilara-
ting form of reducing.
It is easy to get thin to music — and
extremely easy to prove that you can.
The first reducing record awaits only
your word that you want it. Try it only
five days — and note the result in even
this short time.
Almost a Pound a Day
In the case here recorded, the reduc-
tion averaged almost a pound a day.
Much depends on
the individual con-
stitution; for reduc-
ing in this natural
manner takes place
only as fast as the
system is prepared
for thechange. Some
lose seven or eight
pounds in the first
five-days test period;
others but two or three. But you can
and will reduce to normalcy if you want
to; whether you are only five pounds
too heavy, or fifty.
Consult the table of weights printed
above ; see just how much you are over
the weight that is best for your health
and appearance. Then make up your
mind that you will weigh what you
should; you can, very easily — and very
quickly, if you send for the first reduc-
ing record and make the start.
Free Proof — Send No Money _
Just try Wallace's way for one week.
That's all he asks. Don't send any
money; don't promise to pay anything
now or later. The trial is free. If you
don't see surprising results in even these
few days— simply mail back the record
and you will not owe Wallace a penny.
Let the scales decide. Here is the cou-
pon that brings everything; can anyone
suffering from overweight decline such
an invitation?
Mrs. Jessica Penrose Bayliss of Bryn
Mawr, Pennsylvania. Lost overfifty pounds
with WaJIacereducingrecords. Ftmttj Dnn-
WALLACE. 630 S. Wabash Ave. Chicago
Please send me FREE and POSTPAID for 5 days'
free trial the original Wallace Reducing Record for
my tirst reducing lesson. If I am not perfectly satis-
fied with the results, I will return your record and
will neither owe you one cent nor be obligated in
any way. (219)
Xan:c.
Address.
(Seventy-seven)
jhc Greatest Jtfessqge
ever written into
^)ti(nisictureffistoiy
-£)auid Mdascos
QArHstlc influence
QAIotion Ttclures/
w
-^ "'v. 7 fS
" Mr _
-
Y"'Yfrii"i~'"MI
•;V~:Hj..v«=^-
^aew^fS^i
DAVID BELASCO — the man who for a generation has capti-
vated patrons of the Spoken Drama — has yielded to the insistent
appeal that his dramatic genius should be perpetuated in Motion
Pictures for the entertainment and inspiration of all people for
all time.
And BELASCO has chosen to express his matchless art exclu-
sively through
<(
y>
Warner Bros. Classics of The Screen
Now you will see pictures so beyond-the-ordinary that you will
forget the canvas before you and feel the heart-grip of the
master producer.
DAVID BELASCO'S association with WARNER BROS, is
the long-sought triumph of the Silent Drama — the final proof
of Warner leadership.
Watch for the first three Belasco productions — "Tiger Rose" —
"The Qold Diggers"— "Daddies".
We have a limited number of autographed photographs
of DAVID BELASCO which we will send without
cost on request of readers of this publication
1600 Broadway
\
IIRNERIHK
f Classics of the Screen**
New York City
Elinor Glyn on the Technique
of the Scenario
(Continued from page 34)
before it is accepted. First, it is read,
then passed on to the considering
office, where it is criticized before
reaching the scenario department.
There the actual changes are made,
and it is sent to the continuity writer ;
after this, it is placed in the director's
hands. His point of view is often
biased by the subject, which may be
about a nation or a class whose man-
ners and customs he knows nothing
about ! The director changes things
pretty much as he wishes, as does the
advisory committee. Then of course
there is the star of the production,
who must have his or her little altera-
tions. When all this is done, the cen-
sorship committee awaits what is left
of a once original story. And there
you are ! Or rather, there your once
beautiful story isn't!
"The actual meaning of your idea?
Alas, it no longer exists ! Supposing
your story is of a man who stumbled
out of a window. Have it by acci-
dent or otherwise, as you will. You.
as the author, had a definite reason
for this to happen. And, having
your reason, had doubtless, a logical
result, as it affected the man who
tumbled, and also as it modified the
lives of those with whom he was con-
nected. You worked out the psy-
chology, the consequences of every-
thing in your story ; these, and other
parts were the very life of it. Life?
"When the average motion picture
scenario department finishes with
your creation, it has been robbed of
all which could make it convincing.
All the well-planned logic and true
psychology is gone, deleted. Your
man and his tragic tumble have be-
come perhaps even the comic adven-
ture of a person who now evidently
bears no plausible relation to any-
thing in your story.
"And you ? You have been made a
fool of, because the picture play that
cannot but insult the intelligence of
the public, is brought out under your
name ! I believe, from what I have
observed, that the American public is
quite the most understanding in the
world. It is therefore no small
prejudice that you have aroused
against you, as the author. You are
guilty of offering 'bunk,' something
that all the checks in the world would
not have enticed from your pen, in
the beginning.
"As I have been away from
America for nearly a year I have not
seen the most recent pictures. But
I have been studying motion pictures
in England, Germany, Sweden, and
France. And truly, from the techni-
( Seventy-eight)
cal end of tiling, the \m< i ican pro
duccrs ha\ i no rivals ! In the techni-
cal side ft picture making the) are
perfection.
"Most of the scenarios oi the
Swedish and German productions arc
vague; yet they are stories of quality.
They give forth something tangible tti
the educated mind. This is where the
American producer falls down.
"Imagine the gross insult of a pic
ture that depicts American social life,
ociety drama wherein the people
acl as no man or woman in any conn
try, in this particular stratum of life
would act. That's what we have to
look at all the time. And the public
will never be given dramas of real
life as long as ignorant people are
permitted to have power to produce
and direet pictures. We must have
people in authority in the scenario
departments who know from the in-
side the phases of life which they are
trying to interpret. We must have
people who keep to the things they
know !
"The success of my novels has
been based upon the fact that I never
write about things that T do not
knn7i\ Recently someone asked me
why T did not write about a certain
part of England and the natives there.
'Why-' T asked, somewhat amazed.
'Recause T only know about them
thru hearsav. T dont know the reality
of their existence, and could not write
until T do.'
"The scenario departments receive
many terrible scenarios that have to
he changed. Naturally, it is hard for
them to realize when they get a good
one. which it would be wise for them
to leave untouched. The diligence
of the author in mastering movie
technique will mean everything in the
final O. K. which he alone should be
allowed to place on the continuity of
his picture. TTis knowledge of tech-
nique will influence producers to
gather about them intelligent people
who are not groping in the dark, but
who, in knowing what they are at-
tempting to do, will not be satisfied
until they do it correctly."
An Old Storv
I ( ontinucd from page 42)
very closely. For if you did look
very closely and very discerningly,
you would find in her eyes that thing
which made her what she was and
gave us what she gave us in "TTu-
moresque"; the thing Fannie Hurst
saw when she wanted her to play
the mother-part: the thing Frank
Rorzage recognized when he cast
her for the part — the first of a long
line of directors who have perceived
her.
The sympathetic, world-enduring,
Prettier Teeth
If you fight the film
While you leave teeth coated with a
dingy film, their luster cannot show.
Look about you. Note how many
teeth now glisten. And mark what
they add to good looks.
The reason lies largely in a new
method of teeth cleaning. Millions now
use it daily. Accept this ten-day test we
offer, and learn what it does for you.
Why teeth lose beauty
A viscous film clings to the teeth,
enters crevices and stays. The tooth
brush alone does not end it. No ordi-
nary tooth paste effectively combats it.
So much film remains. Food stains,
etc., discolor it, then
it forms dingy coats.
Tartar is based on
film. Those cloudy
coats hide the teeth's
luster.
Film also holds
food substance
which ferments and
forms acid. It holds
the acid in contact with the teeth to
cause decay. That's why so few es-
caped tooth troubles.
Germs breed by millions in film.
They, with tartar, are the chief cause
of pyorrhea. And that became alarm-
ingly common.
Better methods now
Dental science studied long to cor-
rect this situation. It found two film
Protect the Enamel
Pepsodcnt disintegrates the film,
then removes it with an agent far
softer than enamel. Never use a
film combatant which contains
harsh grit.
combatants. One of them acts to
curdle film, one to remove it, and
without any harmful scouring.
Able authorities proved these meth-
ods by many careful tests. Then a
new-type tooth paste was created,
based on modern research. In that
were embodied these two film com-
batants for daily application.
That tooth paste is called Pepsodent.
Leading dentists the world over now
advise it. Careful people of some 50
nations are employing it today.
Multiplies two agents
Pepsodent does two other things which re-
search proved essential.
It multiplies the alka-
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is there to neutralize
mouth acids, the cause ol
tooth decay. It multi-
plies the starch digestam
in the saliva. That is
there to digest starch de-
posits which may other-
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acids.
Thus every use gives
manifold power to these
J.'eat natural tooth-protecting agents.
This test amazes
This 10-day test of Pepsodent amazes and de-
lights. The results are quick and conspicuous.
Send the coupon for" it. Note how clean the
teeth feel after using. Mark the absence of
the viscous film. See how teeth whiten as the
film-coats disappear. Watch the other good
effects.
In one week you will realize what this new
method means. You will see results which old
ways never bring. Cut out the coupon now.
Kspsaciem
10-Day Tube Free "
THE PEPSODENT COMPANY,
Dept. 303. 1104 S. Wabash Ave.. Chicago. I1L
Mail 10-Day Tube of Pepsodent to
The New-Day Dentifrice
A scientific film combatant, which
whitens, cleans and protects the
teeth without the use of harmful
grit. Now advised by leading den-
tists the world over.
Only one tube to a family.
( Seventy-nine)
PREFERRED
PICTURES
Bringing Great Books
and Plays to Life
IN the back of your mind linger the
memories of mighty deeds and
throbbing loves — the things that
make up great books and great plays.
Upon such stories are Preferred Pic-
tures built.
The men who founded Preferred Pic-
tures believe that no photoplay can
give the maximum of entertainment;
no star, no cast, can put forth the
best that is in them, unless the story
is right.
You received the first Preferred Pic-
tures and proclaimed them a success.
Now comes "THE VIRGINIAN,"
a Tom Forman Production, made from
the immortal novel and play.
Under the spell of color, action and setting
such as only the moving picture makes pos-
sible— you can live it yourself with Trampas,
with Molly, Steve and "The Virginian," the
greatest western character ever given to lit-
erature.
Kenneth Harlan heads the Preferred Cast,
which includes such noted actors as Florence
Vidor, Russell Simpson, Pat O'Malley and
Raymond Hatton.
Preferred Pictures are shown in your city. Call
up your favorite theatre and ask "When?"
Distributed b\
PREFERRED
PICTURES
'Produced by
B. P. SCHULBERG
Coming
"The Virginian"
from the play and novel by
OwenWister and Kirke La Shelle
April Showers"
by Hope Loring and Louis D.
Lighton.
* "Maytime"
from the play by
Rida Johnson Young.
"The Boomerang"
from the play by
WinchellSmithandVictorMapes
"White Man"
from the novel by
George Agnew Chamberlain.
"Poisoned Paradise"
from the novel by
Robert W., Service.
"When a Woman
Reaches Forty"
by Royal A. Baker.
"The Mansion of
Aching Hearts"
by Harry Von Tiber and Arthur
J. Lamb.
"The Breath of Scandal"
from the novel by
Edwin Balraer.
"The First Year"
from the play by
Frank Craven.
"TheTriflers"
from the novel by
Frederick Orin Bartlett.
"Faint Perfume"
from the novel by
Zona Gale.
"My Lady's Lips"
by Olga Printilau.
aHpjV SHOWING
"The Broken Wing"
"Mothers- in-Law"
"Daughters of the Rich"
"The Girl Who Came Back"
"Are You a Failure?"
"Poor Men's Wives"
"The Hero"
"Thorns and
Orange Blossoms"
'Shadows"
Rich Men's Wives"
PREFERRED
AL LICHTMAN, ^President
PICTURES CORP.
1650 Broadway, New York
passionate and patient artist-soul.
But in the movies one does not
look for the passionate and patient
artist-soul in a stout Jewish lady of
forty summers.
It is preposterous. Out of no slim
Adonis came the full notes of Ca-
ruso . . . but in the movies . . .
p's's't ! Anyone knows that in the
movies art, Art, mesdames and sires,
is accompanied by slim, desirous
bodies, pickfordian curls and nita-
naldian thighs, come-hither eyes, and
sixteen fruitful summers. And
where, in Vera Gordon, were the
vanished sixteen summers? Where,
even, were the come-hither eyes?"
Ah, no, ah, no, to the directors, ever
searching, ever seeking for the Great
in Art, Vera Gordon was what she
might still be to any casual passerby,
a stoutish Jewish lady asking for a
part in pictures, pictures, if you
please ! And so Mrs. Gordon had
all she could do to get by the keeper
of the gate, let alone into the rare-
fied atmosphere of the Casting Di-
rector's official sanctum.
And thus, bearing her gift within
her, guarding it, preserving it with
the frankincense and myrrh of do-
mesticity and child-bearing and
anxiety. Vera Gordon watched the
long, lean years go by.
In Russia, when she was thirteen,
she had played a great mother-role,
in the Hebrew tongue. Played it so'
realistically, with such force and
veracity, that the governor of the
town or province, or whatever you
call 'em. issued an order that she
should be allowed to play in the
theaters when she chose, an excep-
tional honor to befall a woman in
Russia. Later, she married and
came to Canada, and then followed
the record of the years between the
then and now.
They haven't embittered Vera
Gordon. If she has a slight con-
tempt for "the men higher up." who
mostly dont belong up, it is lost and
absorbed by her passionate pity and
love for the great mass of the peo-
ple, the poor people, whose every day
is struggle and whose every night a
new and sad defeat.
"I know their needs so well, so
very well." spoke Vera Gordon softly
and with inescapable understanding.
This
is
beinsr what a novelist
called his novel. "The Mother of All
Living." This is the spirit that has
shone forth and given Vera Gordon
at long last her "place in the sun."
(Highly)
rhe Powers Behind the Screen
nued from page 39 »
\ small man, with slender, expi
sive hands that is the first imp
sion. N "ii .iu conscious next of the
thin, colorless lips, drawn taut as it'
some eternal problem kept them
forever so, but soon you are aware,
most of all, of the broad forehead,
the calm and stead) eyes. Seeing
these, you know you are facing no
ordinary immigrant washed in by the
endless stream from Europe, ["his
man's ancestors were princes of
Jerusalem, bankers, poets, visions
ries. Grim necessity, the clutching
fingers of European conditions
these later may haw- dragged his
family'^ members down till they
came to this country as piecework
tailors, but before this, in the dim,
far days of time, his personality, his
imagination must have been nurtured
tenderly and under favoring condi-
tions.
Within speaking distance of him
only once, this writer came to that
conversation last year prejudiced
against him. Such, frequently, is the
effect achieved by press agents hired
to boom a man ! But facts speak-
louder than press agents, and the
tacts concerning- Adolph Zukor came
first to a stirring, dramatic climax
in the anteroom of the General Film
Company over a decade ago.
Like Disraeli who foresaw the
British Empire cemented byr a Suez
Canal clinching India, years after the
House of Commons had laughed him
down — like Disraeli, Zukor waited
patiently. Three hours passed. He
was shown in, but he plead in vain.
The little he had picked up as a
furrier he had sunk in these nickel-
odeons of his, hut imposed condi-
tions were cutting his profit. He had
vision. He needed money. But what
he saw, they could not see, what he
asked they did not grant. They only
laughed, and suddenly he was on his
feet, his finger leveled at them, a
curious hitter smile parting those
drawn lips of his.
"Some day," he said, like Disraeli.
"some day you will hear me. Some
day you will listen."
It is convenient to tell the history
of the motion picture industry in the
terms of Adolph Zukor, but an in-
quiry into all the circumstances that
have entered into that history from
the day of that interview till now —
such an inquiry makes telling the
>tory in just those terms inevitable.
While he has not created circum-
stances. Zukor has set the pace.
\\ hile he has not sown the seed, fre-
quently at harvest he has found him-
self boss of the threshing machine.
While conditions beyond his control
/ 'uinl by Dori.i Kenyan in
"Sure Fire Flint, a
Mastodon Films, Inc.,
motion picture. Miss
Kenyon Is one of many
charming women of the
screen n>/io use and endorse
Ingram s Milkweed Cream
for promoting beauty of
complexion
Face to face with your mirror
can you rejoice in your complexion ?
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You can if you adopt the regular
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you can take genuine pride in the
glory of a fair and radiant complex-
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Ingram's Milkweed Cream, you will
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Go to your drug-
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Use it faithfully, according to direc-
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Established
si Tenth Strket Dl oton. Mi< n
Canadian residents address F. F. Ingram Companj.
Windsor, Ontario. British residents address Bangers,
l:'A liampstead Rd.. London, N. W. 1. Australian
residents address Law. Blnni a Co.. coinmere.- .
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Inartim's
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Send ten cents today for Ingram's New Beauty Purse
Frederick F. Ingram Co., 83 Tenth Street, Detroit, Mich.
GenUemen: Enclosed please And ten cents. Klndh send me Ingram
I'.rauiv Purse, I'linraininc « liberal sample of Ingram's .Milkweed Cream, two purse
imps, one generousl) tilled with Ingrain's Pace Powder, the- other with Ingram's
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Name
Street
State.
(flighty-one)
flrftf^S
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have constantly developed about him,
he has been quick to maneuver him-
self into positions of advantage, and
his last, his ablest move, brought him
that saving grace which — for sim-
plicity's sake — is known as Will H.
Mays.
This was a Machiavellian stroke,
but its true inwardness seems to be
understood only in Wall Street finan-
cial circles where they have followed
the growth of the picture business to
its present apex, where they remem-
ber best the exact manner in which
the foundations of this pyramid were
laid down in 1913, '14 and '15.
Thereabouts the General Film
Company's hold on the basic patents
was loosened. Distributing and pro-
ducing companies sprang up : Mutual.
Universal, Film Exchanges of
America, Triangle, Metro, and finally
Paramount. Able men took charge
of them : Carl Laemmle, P. A. Pow-
ers, R. H. Cochrane, H. E. Aitken,
R. A. Rowland, and finally the com-
bination that included under the
Paramount banner such men as
Zukor, W. W. Hodkinson, Jesse L.
Lasky, J. D. Williams, Arthur'
Friend, B. P. Schulberg, and Al
Lichtman. But what, you will ask,
was this all about.
Some flooded pipe-line must have
poured rich, streaming gold into so
great a body of activity.
It did. The stream grew to a river
when shows were provided worth a
quarter, half a dollar, a dollar, even
two dollars. Nickels and dimes were
all that was asked before. Shows
had been short then. Half an hour
of time, two thousand feet of film. It
was argued that the public would not
stand for anything longer, that eyes
couldn't stand the strain.
One-reelers and two-reelers had
been supplied by the General Film
Company at the rate of sixty reels
a week. Universal broke in with a
thirty-two-reel program, Mutual with
twenty-eight, Film Exchanges with
an inconsiderable eight to twelve. All
these were short subjects, but before
the war change was in sight.
George Kleine, the Republican
politician from Chicago, was to im-
port from Italy a picture called "Ju-
lius Caesar" and pack those anxious
to see it into a Broadway theater.
"Quo Vadis," "Cabiria," other?
followed, but, even before this, ex-
hibitors clamoring for something to
keep the crowds coming had seized
on such few five-reel features as were
offered and promptly raised their
prices for "feature days."
Soon it was evident that the public-
waited for "feature days," and will-
ingly paid a quarter for the better
show.
The five-cent days were over. . .
(Eighty-two)
PLAY PIANO BY EAR
Be a Jazz Miisic Master
Remember
American
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Be Popular in Every Crowd
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Even talented musicians are amazed at the rapid prog-
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Learn at
me in
are a beginner or an advanced student.
Write for interesting, illustrated booklet, "The Niagara
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Ronald G. Wright, Director, NIAGARA SCHOOL OF MUSIC, Niagara Falls, N.Y.
(Eighty-three)
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Divine Discontent
(Continued from page 76)
Alma: P.ut where are there any
true artists ... on the screen ?
Who is to say whether they are true
or not? Where is the celluloid
Bernhardt ?
Myself : Non-existent.
Alma : Exactly. Oh, there are
touches of genius, I know. I could
name several. . . . But even so. On
the other hand, if one can write one
can defy time, all the time there is.
Youth can pass and beauty can fade
and still the gift can remain, one's
own, independently.
Myself: What type of writing
are you doing?
Alma: Fiction. Short stories.
Friends of mine, critics, shall I say,
tell me that my ideas are good, but
my treatment can be improved upon.
That's enough encouragement to be-
gin with. I'm going to keep on try-
ing. The fact is, that I admire most
those people, men or women, who
are able to sacrifice everything,
fame, comfort, glory, for the sake of
the thing they want most to do and
can do the best. I could bow down
and worship a man or a woman who
can live in a garret on twenty-five
cents a day in order to do the thing
they believe in. That's what dis-
satisfies me with myself. I have con-
stantly the feeling that what I am
doing is impermanent, unimportant
and soon forgotten.
Myself : You are probably alone
in that opinion. -Perhaps the con-
tinued appreciation of "Enemies of
Women" will help you to see that.
Alma: If I could do something
greater than a mere picture. "Driv-
en," for instance. Did you see that ?
There was something tremendous
and epochal. That was more than a
mere picture. And yet the man who
made that has turned to the making
of "Six Days." Just another movie.
The pity of that sort of thing is what
hurts me ; is what gives me this
poignant dissatisfaction with myself.
=1= % %
The conversation went from there
to other things. Lighter, lesser
things, and it wasn't until after I
had left Alma that I thought of what
I should have said to her . . . which
was, that this very dissatisfaction and
restiveness of hers is the tormenting
fire of genius, the lack of which she
was lamenting. Hers are the grow-
ing pains of Art. And when one is
suffering from growing pains one is
passing from the adolescence of
artistry into the maturity that
endures.
\ve. Alma.
** :*V.
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(Eighty-four)
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PLAY MUSIC FROM NOTES
IN SIX LESSONS
Write immediately for full particulars ami
S*mf
PROF. JOHN A. OSHEA, Musical Director
Room 4 Boston Academy of Music
120 Sutherland Road Boston, Mass.
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I he M"\ ie Encyclopaedia
ntinued from pagt 7.1)
\l M .'I So you want mon
<>i t sul Ring, who played in "Back Hon*
ami Broki All right. Cyril, wnd along
some phoi
I! vron salute, my kinj ' I will
ouote your letter "Anal Mj erudite
friend I Permit me t>> <i""(t' you — 'Things
are never masterpieces when they first ap
pear; they become masterpieces after
wards.' would it not be more correct t"
say that thej are recognized as master-
pieces . . . afterwards? Howevi
mil me, also to observe thai I enjoy your
question box not for the questions and
answers— but for your delightful j»liil< >-
sophic injections. I do hope thai thej
are received with due consideration." I
thank you with all my heart for your very
kind words. Write me again — do.
Dorothy I.. — Vou know what Robert
Louis Stevenson says "To marry is to
domesticate the recording angel.'' Glenn
Hunter in "The Scarecrow" and l"West of
the Water Tower.'" Mary Miles M inter
is not playing now*. Francis Bushman is
thirty-eight, and Justine Johnston is in
Rngland.
Gloria, New Orleans. — The truest
mark of being horn with great qualities is
being horn without envy. Gloria Swanson
i; twenty-six, five feet three and weighs
112. My error, Conway Tearle is forty-
three instead of twenty-three. Norma
Talmadge married to Joseph Schenck.
Thomas Meighan in "Homeward Bound"
and Conrad Nagel is twenty-seven.
Alice G. Belmar. — Well, eat-well is
drink-well's brother. Wallace Reid and
Gloria Swanson in "The Affairs of
Anatol." Viola Dana and Malcolm Mc-
Gregor in "The Xoise in Newboro," and
"The Social Code." Write to Warner
Brothers for Marie Prevost's picture.
Claire Windsor is not married now and
she has a son Billie. Address Marguerite
de la Motte, Mayer Studios, 3800 Mission
Road, Los Angeles, Cal. You're very
welcome.
Ethel W. — What beautiful stationery.
Barbara La Marr at Universal, Universal
City, Cal. Ramon Navarro is twenty-
four, not married, born in Mexico — a
dancer and playing in "Scaramouche."
Savee !
Thelma O. ; Carolyn R. ; Margaret
I. ; Glbnna P.; De Roche Craze; Betty
axd Jack; Peggy; Gerene; Frannie P.:
Sweet Sixteen; Sis Hopkins; May H.;
and Rex D. ; Sorry to have to put you in
the alsorans, but your questions have all
been answered up above. Come again.
Ansell W. — Quien sabe? Some say
Xita Naldi is Italian descent. Norma Tal-
madge is Mrs. Joseph Schenck and she has
lovely brown eyes. So long for tonight.
Pat. — That sure was a clever letter of
yours. Norma Talmadge has been mar-
ried about six years now. No children.
Jean Acker Admirer. — I am glad you
do not think this department is dry. It
would be if I allowed cobwebs to collect
in my brain works. Why Jean Acker is
twenty-five, five feet three, weighs one
hundred and fifteen pounds, has blue eyes
and brown hair. She hasn't been playing
in pictures recently. You might try
Loew's Circuit, 1540 Broadway, New Vork
City. Thanks a lot.
Zelda F. — Yes, Gloria Swanson is her
right name. Cant tell you why she wears
a sad look all the time. Didn't know she
did. She has auburn hair. Yes. and some
drink healths till they drink away their
own health.
16
Latest Ibxliots
owfWaltzes
FOX TROTS
. M,,
mo
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4. Hamballna
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Name
Address
City SUte.
(Eighty-fire)
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4EU^ 389 FIFTH AVE., DEPT. S210
Foreign Films
(Continued from page 25)
film called "The Poor Mother" (La
Madre Folle) in which his wife,
Soava Gallone, one of the finest ac-
tresses in Italy, plays a double role.
In this picture she confirms her repu-
tation as a wonderful comedian as
"the poor mother," and a beautiful
actress as the daughter.
RUSSIA
Russian film fans are always very
busy. After the success reported by
the film "Polikuchka," two other
photoplays have been completed.
One of them is called "Jola" and
deals, according to an old Russian
legend, with the story of a woman
somnambulist.
The other is "The Defeat of Sa-
tan" and is another legend of the
time before Jesus Christ.
Both are very characteristic, as
they are full of real Russian atmos-
phere (many scenes were shot in the
Russian mountains or near the river
Volga) and depict, of course, Russian
customs and habits.
GERMANY
It is a pity that the cinema was not
yet discovered when Christopher Co-
lumbus discovered America, if it had
been, many cameramen would have
certainly accompanied him in his long
journey. But producers of different
countries now wish to immortalize
on the screen the name of the fa-
mous discoverer, and different pic-
tures haA'e been made which depict
his life.
A few years ago — that is, near the
end of the war— France sent Georges
Wague to discover America in a pic-
ture entitled "The Adventure of
Christopher Columbus." Altho this
was very well acted, the photography
and the continuity were not very
satisfactory. And now Germany has
just sent one of her actors, Albert
Bassermann. to discover in his turn,
the New World.
A very characteristic German pic-
ture is "Chaos." It is an astron-
omical and comic picture, quite orig-
inal and attractive. It represents the
type in which the Germans seem to
excel.
AUSTRIA
I had the opportunity of seeing
lately "Samson and Delilah," the new
picture produced at the studios of
the Vita-Film in Vienna. Of course
it tells us the Biblical story, but an-
other story is in it of the strongest
man and the girl who won him. This
picture is one of the best Austria has
so far produced and the acting of
Maria Corda, the Austrian star, is
perfect.
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asu
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154 Nassau St., New York
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N. Y. INSTITUTE of PHOTOGRAPHY
NEW YORK CHICAGO BROOKLYN
141 W. 36th St. 630 So. Wabash An. SOS State St.
WRITE FOR THE MOVIES
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< )ur euarantee states that tuition
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I he Hollywood Boulevardiei
Ch
ontinucd from /•
i (i n- together, At last it came no1
long ago iii "The Magic Skin." L>
produced by the Achievement F ilm
at Goldwyns. And when it came,
Carmel found thai her pari required
her t«> push B< ie over a cliff to her
doom and such. Discouraging for
sisterly love, 1 luh ?
* * *
Erich von Stroheim is going to
take his company to Death Valley for
the final scenes of "Greed." At the
height of the August heat which they
will be in the midst of, Death Valley
is a grand little summer resort. The
last prospector who got out this sum-
mer reported the thermometer as
standing at 172.
;:■• * *
The most interesting project I
know of in films is the announced in-
tention of King Vidor to make a pic
ture from Gulliver's Travels. lie
says he has had it in mind for year-
hut never before has had the oppor-
tunity. Just at present. Mr. Vidor
is filming "Wild Oranges."
* * *
Lloyd Hughes is one leading man
who comes straight out with the
truth. As a relief from the imagined
aristocratic origins of most of them.
Lloyd announces to the world that
his father was a locomotive engineer
in Arizona and before becoming a
screen actor he was a butcher hoy.
* * *
Lois Weber has thrown up her
hands in disgust. She says, what with
censors who murder the stories and
producers who insist upon casting the
pictures and directing the directors,
she is thru. She is going to take a
vacation until they come to their
senses.
* * ■ *
It's all off again with Pola and
Charlie. Pola says she will never be
Mrs. Chaplin, so that's the end of
that. This shocking truth was borne
in upon the public of Hollywood last
week when both Charlie and Pola at-
tended a big hotel opening. But
Charlie was with Leonore Ulric while-
Lola was with "Big Bill" Tilden and
Manuel Alonzo, the tennis players.
"I realized rive weeks ago that it was
an impossibility." said Pola. "Charlie
is lacking in all matrimonial require-
ments, he is too temperamental. I'm
glad it's over now. I can think of my
work again."
Leonore Ulric laughed when she
was asked if she had matrimonial
designs upon Charlie. "Not for me."
she said briefly.
Earle E. Liederman
as he Is to-day
Pills Never Made
Muscles
Wishing Never Brought
Strength
NO one can paste muscles onto your an
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Modern science has taught us that we mi
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Examine Yourself
Do you have the strong robust body which, kiip-
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md go through a languid day?
PEP UP!
Don't let It get you. fellows. Come on out of that
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Remember this does not obUgal
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EARLE E. LIEDERMAN
Dept. 1810. 30S Broadway. NewYorkCity
EARLE E. LIEDERMAN
Dept. 1810. 305 Broadway. New York City
Dear Sir:— I enclose herewith
yoa an- to s. ml me, wit]
part whatever, a ,-opy of \our lat.^t I t..
cular Development.'' LPlaasa write at ;
NanK
st rest
< ■ i t > Stale
(Eighty-seven)
To Retain those
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One's age first begins to show about
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J&J YOiftS THE STAHDQRD TRRIWH6
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ALVIENE SCHOOL
DRAMATIC ARTS
FT)UI? SCHOOLS IN ONE. PRACTICAL STAGE
TRAINING. THE SCHOOL'S STUDENTS STOCK »M
THEATRE AFFORD PUBLIC STAGE APPEARANCES
Write lot citahi; mentionine study desired to Secretary
ALVIENE SCHOOLS. Suite 17
43 West 73nd Street
Bet. B'way&Ceutral Park WeBt, New York
The Rime of the Ancient Ham
(Continued from page 51)
Committing crimes in
pantomime
While Art with scorn
was spurned.
And rulihelh it
In
And zanies, nit-wits,
dumbbells, mimes,
Who ne'er had
played a part,
Were crowned with
laurel wreath and
gold
By this Caliban of
Art.
"inlTMovi'e As happened it, I once
Queen bespoke
A sceptered Movie
Queen.
She earned a fabulous
sum each week,
This Miss of
seventeen.
A 11 d tntreateth
her to wise hiiu
up ahout how
she puts it over
The dana- givetli
him an earful
of apple sauce
Daisy Dumbell
was starred in
a piece but it
was never re-
leased. The cen-
sors objected to
Ibe word "pa-
jamas"
The Ham con-
cludcth that
Art has been
vamped by a
Flapper
Ain'titthe
truth*
'Oh, child,' I said,
'please spell for me
me
Your secret of
success.
What is the chicanery
that holds
The public in duress ?'
'Well, sir,' she said, 'it's
this a-way,
So far as 1 can tell.
When my first picture
hit the screen,
The Public simply
fell!
Of course, you see, I'm
kinda cute,
In weepy, heart-sick
dramas.
You'd ought to see my
latest hit,
It's called, "The Cat's
Pajamas." '
Alas ! I saw things
clearly then.
Old Art, the doting
fool,
Had been beguiled by
simpering youth,
And was youth's easy
tool.
Was like a vain and
foolish man,
Who. when the years
betide,
Puts off his old and
faithful spouse,
And takes a younger
bride."
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UNITED SHOW CARD STUDIOS.
21S OInan Bid*., Detroit. Mlchlf*
(Eighty-eig'. ')
ITS OFF
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Why Good Dancers
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FIRST PART OF
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Simoty Follow These
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TIME
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WILSON METHODS LIMITED- DEPT. E
64 Kjst Ki< -unkind, Toronto, Canada.
uul .'f III
.lilt] »H '■
III.. Illll
A ii il ■• an tii lo
know wbj th<
Hum picket!] on
hi in nlth his
(air Of WW
Tin- Ham I \
lila I iii-IIi Dial
he's gotta tell
tils troubles to
sutuobo.l \ . Off
baal
And liow be un
loaik'th on any-
body that's got
a lo.-
The Fan beats
it and goto in
the a h o w In
Hum f,» sec the
Boat races and
the Ski junipers
I lu Mm il l*;m |
ii|» at this.
"I've sa« thai little
till II.
Iii lots o' urns k- plays.
\lld Ml) !
She sure can strut
her stuff!
But lissen, Bo! v.. us e
liit tin- rocks,
\ i one eyed guj
could '
Bui why your mourn-
ful song and dance
Unload on Little
Me?"
"Ah, Sir! At tm it- im
soul is torn
With dire and woe
ful agony.
And till my doleful tale
is told,
It will not set UK-
free.
I go from cinema door
to door.
With my strange
power of speech,
And when I can a lis-
tener find,
My tale to him I
teach."
"All right. Old Coot,
I've heard your
spiel.
It's a sad tale, too,
at that.
But I gotta see the
show inside.
Here's where I leave
you fiat."
Flashes from the Eastern Stars
(Continued from page 57)
Vivienne Segal, prima donna of
"Adrienne," and Robert Ames, who
is appearing in "We've Got to Have
Money," were married recently in
Maryland.
Mae Marsh has signed a contract
to star in the Warner Brothers' pic-
turization of David Belasco's play,
"Daddies." She has left for the
Coast.
Ralph Graves is to play opposite
Marion Davies in her new Cosmo-
politan picture. "Yolanda," which
has started at the Forty- fourth Street
studio. He will have the romantic
role of Prince Maximilian. Lynn
Harding, who is to play Charles the
Rash of Burgundy, has arrived
from London to begin work. "Yo-
FREE
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As I Have Proved
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unit'.
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this advai tlaemenl to t •- 1 1
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Experience my teacher
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(Eighty-nine)
There's Music in your Eyes, dear
WHAT cared he what rec-
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the music in her eyes — eyes
now questioning, now dream-
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joy of heaven on earth.
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Cream Lashlux (black, brown
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Mail a dime today for a sample of
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In Half an Hour You Will Be Playing "ALOHA". Soon You Will Be Winning
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Here 's cProofofour
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Buchanan. V>.
First Hawaiian Conser-
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tt baa been two months
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play anything I wish.
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since finishing your
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Respectfully yours.
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Koester School.
314 So. Franklin St..
Chicago. 111.
First Hawaiian Conser-
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I shall certainly be very
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Mr. W. R. Johnson has
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write a personal letter
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Your former student.
W. L. Walker
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{*riut name and addreaa clearly.
landa" is an elaborate costume pic-
ture of the fifteenth century when
Louis XI reigned over France and
Edward IV over England. Robert
( i. Vignola is directing.
Seena Owen, who returned re-
cently from Banff in the Canadian
Rockies, has signed to star in Whit-
man Bennett's screen adaptation of
"The Leavenworth Case," by Anna
Katherine Green.' Mr. Lionel Bar-
rymore co-starred with her in "Un-
seeing Eyes," and among other
functions they performed, while on
location, was acting as judges in a
baby show in which the contestants
were swarthy little Indians.
Lloyd Hamilton, the motion-pic-
ture comedian, has left Los Angeles
for New York where he will imme-
diately begin production at the D. \Y.
Griffith Studios in Mamaroneck, on
his first five-reel comedy. The story
in which he will appear is called
"Black and White" and is the same
production in which Al Jolson was
rehearsing when he fled without
notice to Europe.
Griffith is contemplating a film epic
of the American Revolution. He has
a scenario prepared and one star
selected, Carol Dempster. It has been
proposed that the Daughters of the
American Revolution sponsor it.
George Pembroke, well-known ju-
venile lead on stage and screen, ha.s
signed up with George Beban for his
current production to be made here
in the East. Mr. Pembroke will be
remembered for his work in support
of William Faversham in "The
Prince and the Pauper."
David Belasco has completed the
installation of a new lighting equip-
ment at the Belasco Theater. The
outcome of scientific research and the
result of years of experimental work,
it will revolutionize stage lighting.
He believes the most interesting, im-
portant and potential department of
play production — aside from acting
— - is lighting. Heretofore, color
lighting on the stage has been accom-
plished by the use of gelatin mediums.
This process was and is unsatisfac-
tory. Mr. Belasco's innovation will
make it as extinct as the dodo.
Greenwich Village, New York's
so-called Bohemia, with all its hokum,
sophistication, and free thought, has
been transferred this week to the
Paramount studio in Long Island
where Sam Wood is producing "His
Children's Children." The scene
shows a cafe in the village, a com-
posite of the Pirates' Den, The Black
(Continued on page 92)
(Ninety)
Special Announcement
of Interest to Every Reader of
LASSIC is to have an addition. Effective
with the November number, SHADOW-
LAND, the Brewster Publication expressing
the arts, will be combined with Classic,
the Picture Book de Luxe. The new title
will be Classic and Shadowland.
October will be the last number of SHADOWLAND to be
issued as an individual magazine, and will be on sale at
all news-stands on the 23rd of September, at 50c per copy.
Whether you have bought this magazine before or not,
you should get the October Shadow land. John H.
Anderson, Sheldon Cheney, William McFee, Mary Fan-
ton Roberts, Allan Ross Macdougall, Lydia Steptoe, Per-
ceval Gibbon, Ernest A Grunsfeld, Jr., and a host of
others have contributed to make this, the last to be issued
under the exclusive title of SHADOWLAND, the most beau-
tiful and interesting number ever put out. By all means
tell your news-dealer to save a copy for you.
Subscribers for both the CLASSIC and SHADOWLAND will
have their time on Classic extended to make up for copies
still due on SHADOWLAND. SHADOWLAND subscribers
whose names do not also appear on our Classic mailing
list will receive the new CLASSIC to fill out their unex-
pired time on Shadowland.
Please remember the date for the new Classic and if you
are not a subscriber, tell your newsdealer to be sure ami
save the November CLASSIC AND SHADOWLAND for you,
out October 12th — price 25c per copy.
BREWSTER PUBLICATIONS, Inc.
175 Duffield Street Brooklyn, N. Y.
{Ninety-one)
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Flashes from the Eastern Stars
(Continued from page 90)
Cat and other familiar resorts in
New York's artistic center. Tiny
Tim, the candy man, who sells the
soul candy, which "stirs the emotions
and charms the heart," is one of the
interesting figures of the Village who
is shown in the scene. He peddles
his candy to the extras on the set
just as he does nightly in the cafes
downtown.
News has just come from abroad
that Pedro de Cordoba, well-known
artist, is to be starred in "I Will
Repay," the Henry Kolker produc-
tion being made in Great Britain
now. Prior to this Mr. de Cordoba
played the lead in "The Fires of
Fate," a picture made in Egypt. At
present he may be seen with Madge
Kennedy in "The Purple Highway."
A punster has had the nerve to
submit this : "Ever since an ambi-
tious publicity man put a whale on
top of Pike's Peak to advertise
Elmer Clifton's 'Down to the Sea in
Ships' we have been expecting to
hear that someone has hitched 'The
Covered Wagon' to a star."
Daniel Carson Goodman is cutting
and editing his third production for
Equity, titled "The Daring Years."
The cast includes Mildred Harris,
Charles Emmet Mack, Mary Carr,
Tyrone Powers and Clara Bow.
"New York is the logical place to
make pictures," says Richard Row-
land, general manager of First
National, who confidently expects to
be producing the major portion of
First National's releases in the East.
"The scenery in California," he goes
on, "has been overworked and pro-
duction on the Coast is so far away
from the home office that it is impos-
sible to watch proceedings. Until
business can be regulated so that the
heads of the company are at the scene
of activity, we are going to continue
to hear these complaints registered
against the ridiculous cost of produc-
tion. The man who furnishes the
bank-roll and who is personally in-
terested in the production of the
picture should be able to consult with
his director by word of mouth. Tele-
grams, telephone and letters have
proved eminently unsatisfactory in
many cases. There is no prettier
country for outdoor scenes in the
spring, summer and fall, than New
York and vicinity. The Hudson
River, the Adirondack's. Long Island
and the Catskills furnish scenery that
cannot be duplicated anywhere else
in the world."
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M. TRILETY. SPECIALIST
622-L. Ackerman Building, BINGHAMTON, N. Y.
(Ninety-two)
Hlow Youi Own Horn
1 1 on tinned f\ out page
lie smiled brightly on Mr. Small, who
was fizzing like a buttle of soda
water. "< *ne \\ eek from tonight
ont week," he repeated significantly,
holding the millionaire's eye, "we
will show you all the first demonstra
t HMi of wireless power ever made!"
The sputtering Small met the tri
Umphant smirk of Dinsmore Bcvan,
ami remembered a long li-t of old
scores tn be evened up. \\ hat a storj
it would make at the club- the Wise
Boy of W all Street gypped l>y a
tramp, h was too good to spoil, and
anyway he luul given his promise
that tlii- audacious rascal should
have a week in which to blow his
own horn. 1 le burst into a roar of
laughter, prodding a knowing elbow
into Jack's ribs. "A week, eh? Nol
much time, my boy !"
lack's blue gaze sought Ann grave-
ly, "< )li. I dont know." lie -aid. "after
all. the world was made in seven days,
you know. Perhaps it can be made
over in a week, who knows?"
And Ann. the modern, saw fit to
blush again, as tho his remark could
by any possibility have had anything
to do with her !
To quote Buddy, the week that
followed was "the snake's hips." lie
was not quite clear just how the
miracle had been wrought hut Life
had taught him to ask no questions,
and so he took what was ottered —
two helpings, and made no comments
until he and his brother were safely
in bed in the luxurious room that
looked to his awed gaze like one of
those movie palaces the -well skirt
that marries the he-man hero lives in.
"Say, I -aw you and Ann in the
garden this afternoon." he confided
at such a time, "now dont get sore,
only do you think it's straight to kiss
another guy's girl ?"
"Ann isn't another guy'- girl,"
Jack's voice came from the darkness
a trirle tremulously, "-he'- my girl.
Buddy! She and Augustus dont
want to get married, and this after-
noon she promised to marry me, only
we are going to keep it a secret till
the evening we test out the inven-
tion."
Buddy extended a small, hard hand
in congratulation. "That's the ant's
Adam's apple!" he avowed. "Say,
I bet that Yates dame with the de-
mountable complexion is going to be
sore! She has you picked to do a
Mendelssohn with that Julia of hers.
Say — dont squeeze too hard. I
bumped my finger today — yeah, on
Percy's eye ! He said your wireless
was no good, and / said he was a
DRAW YOUR WAY f.
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(Xinety-three)
Woman's Charm
NATURALLY A
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Bust
THE secret of woman's charm is that
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Bust Pads Will Not Do
No man loves a dummy. There is no
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woman, and because you are, you want to
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morning until fully developed. That is all,
simply use it, nature brings the rounded
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secretly craves.
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THE OLIVE COMPANY
Dept. 210
Clarinda, Iowa
The R.eal Norma Talmadge
So much has been written about the work of this famous
screen star that when Harry Carr lifts the curtain and
reveals the happy home life of Norma Talmadge as Mrs.
Joseph Schenck, wife of the producer, it comes as a
pleasant surprise to her admiring public.
The Editor Crossifis
Intimate, personal glimpses into the lives of motion-pic-
ture stars that differ from most of the news you hear
about them are given by the editor whose opportunity for
meeting screen celebrities "off duty" affords material for
interesting reading.
1 he (cartoonist dontnoutes
A double-page spread of pen pictures by Kliz that show
many of the screen favorites from a humorous angle.
November
Motion Picture Magazine
On the stands October first
liar! It's going to work all right,
isn't it?"
"Sure it is!" Jack said cheerfully.
Horn-blowing was getting a habit
with him nowadays, but in his
heart he was not so sure, and as he
sat a few nights later at the trans-
mitter which had been placed in the
Jolyon drawing-room waiting for the
first faint ticking which would prove
success, his confident smile covered
a sick fear. If the thing should fail,
he must in common honesty give
Bevan back his check, and start
out again on the road that led away
from Love and Happiness — and Ann.
He started from his thoughts at
the sound of her name, spoken acidly
on Mrs. Yates' tongue, "Ann is at
the cabin with Augustus tonight, is
she, Mr. Small? I thought that she
would probably prefer to await the
result — at this end."
There was no mistaking the in-
sinuation of the emphasis, especially
as it was accompanied by a spiteful
glance toward the man who had not
chosen to become her son-in-law.
Small whirled with a snarl upon
Jack. "What? D'you mean to say
that you've dared "
Jack interrupted sternly. Hand
on the transmitter, every nerve tense
with listening for the first tick, he
faced the millionaire's purple rage
steadily, "I have dared to love your
daughter, yes ! But I would never
have spoken of it to her if Augustus
had not confessed that they did not
care for each other."
"But — that's carrying the joke too
far ! A common soldier — a tramp
" Small turned to the others,
sputtering out the story of the im-
posture, waving a pudgy diamonded
forefinger at Jack who stood very
straight as tho at attention under
their curious, hostile eyes, "and now
this — this impostor dares to tell me.
he hopes to marry my daughter —
ha ! ha ! That would be a joke — a
fellow without a penny "
"How about the check I gave
you ?" Bevan's voice was ugly. For
reply Jack silently took the slip of
paper from his pocket, tore it across
and handed it to him. At almost the
same moment the instrument beside
him began to tick ! Jack laughed
exultantly, facing them, head high.
"A common soldier!" he said with a
great breath, "that's the finest com-
pliment you could pay me! And as
for the rest — yes, I am penniless —
except for a half share in Augustus'
invention !"
Dinsmore Bevan smiled a sickly
smile. "I was hasty," he began pro-
pitiatingly, "suppose I write you an-
other check "
The jangle of the telephone inter-
(Conlinucd on page 96)
(Ninety-four)
Manufacturers, Distributor!
and Studios of Motion Pictures
Outside New York Gt\
American Film « " Broadway,
t hicago, 111
Beat State Film Co., Hollywood, Calif
Bennett, Chest* r, Prod . 3800 Mis-ion Kd ,
I os Angeh 5, 1 alif.
Carson Studios, Inc., I84S Messandro St .
I os Angt l< s, Calii
Century Comedies, 6100 Sunset Blvd..
Hollywood, Calif.
Charles Chaplin Studios. 1420 La Brea
Vve . Los Vngi li . Calif.
Christie Film Corp., 6101 Sunset Blvd.,
Hollywood, Calif.
imonwealth Pictures Corp., 220 So.
State St., Chicago, 111.
tan, Jackie, Prod., 5.5-11 Melrose Ave.,
Los Angeles, Calif.
Dwan, Mian, Prod . 6642 Santa Monica
Blvd., Hollywood, Calif.
Famous Players-Lasky Studios, 1520 Vine
St.. Hollywood, Calif.
Ford. Francis, Prod.. 6642 Santa Monica
Blvd., Hollywood, Calif.
Fox Studios. 1401 Western Ave., Holly-
wood. Calif.
GoWwyn Studios, Culver City, Calif.
Hart. William S., Studios. 5544' '• Holly-
wood Blvd., Hollywood, Calif.
Ince Studios. Culver City, Calif.
Leah Baird Prod., Culver City, Calif.
Lloyd, Harold. Prod., Hal Roach Studios,
Culver City, Calif.
MaeDonald, (Catherine, Prod., 945 Girard
St., Los Angeles, Calif.
Mayer. Louis B. Studios, 3800 Mission
Rd., l.os Angeles, Calif.
Metro Studios. 1025 Lillian Way. Los An-
geles. Calif.
Morosco. Oliver. Prod., 756 So. Broadway,
Los Angeles, Calif.
Pacific Studios, San Mateo, Calif.
Pat lie Fun s, 1 Congress St., Jersev City,
X. .1. " '
Ray, Charles. Studios, 1425 Fleming St.,
Los Angeles, Calif.
Roach, Hal E., Studios, Culver City, Calif.
Rohertson-Cole Studios. 780 Gower St..
Los Angeles. Calif
Roland, Ruth, Prod., Culver City, Calif.
Sennctt, Macjc, Studio.. 1712 Glendale
Blvd., Los Angeles, Calif.
Stahl. John M., Prod.. 3S00 Mission Rd.,
Los Angeles. Calif.
Stewart. Anita. Prod., .vSOO Mission Rd.,
Los Angeles, Calif.
Talmadgc Prod., 5341 Melrose Ave., Los
Angeles, Calif.
Toumeur, Maurice. Prod., Ince Studios,
Culver City, Calif.
United Studios, Inc., Los Angeles, Calif.
Universal Studios, Universal City, Calif.
Vidor. King, Studio, 7200 Santa Monica
Blvd., Los Angeles, Calif.
Vitagraph Studios, 170S Talmadge St.,
Hollywood, Calif.
Warner Bros.. Bronson Ave. and Sunset
Blvd.. Hollywood, Calif.
Weber, Lois. Prod.. 6411 Hollywood Blvd..
Hollywood, Calif.
Wharton, Inc., Ithaca. Xew York.
(Ninety-fire)
OPPORTUNITY MARKET
AGKNTS WANT1.D
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Hi ■.-fni PI plays Brlna Big M I
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MOTION PICTURE BUSINESS
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SHORT STORIES
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Blow Your Own Horn
(Continued from page 94)
rupted. Jack picked up the receiver
and his face went white as he
listened. "You say the cabin is
electrified and you cant get out? Au-
gustus is unconscious? For God's
sake keep away from anything metal,
and I'll be there " he turned upon
them, "one of the high tension wires
must have fallen against the ridge-
pole flashing ! They'll be roasted
alive "
Mr. Small had sunk down into a
chair. He seemed to have shrunken
all in a moment until his clothes hung
loosely on him. "I thought- — I cut
the arterial lead " he muttered.
"I wanted the experiment to fail so
I could buy Bevan's share " he
began to whimper, "save her, young
man, and I'll give you ten thousand
dollars- — twenty "
But Jack was gone. A small
pajamaed figure met him in the hall,
and for one instant he paused, grip-
ping Buddy's shoulder with fingers
that left a mark for days. "Do you
know any prayers, kid?" Jack asked
him tensely, "if you do, get down on
your knees and say them till I get
back — with her!"
Obediently Buddy slid down and
prayed the only prayer he knew.
"Now I lay me down to sleep" — he
was still repeating it in a voice hoarse
from fatigue, an hour later when
they all returned, with Jack in the
midst of a worshipping throng. From
the clamor of many voices, disjointed
facts floated thru Buddy's sleep-
dazed brain, Jack had climbed the
steel tower of the power line and
jumped down on the broken wire-
swinging it free from the cabin. . . .
The figures of his brother and Ann
seemed to recede in his head, and
then grow to enormous size — he had
never seen such a large kiss even in
the final close-up of a movie ! " — it's
the red-blooded — he-men that gets —
'em every time," Buddy muttered
sagely from the depths of a long and
varied cinema experience as the
waves of sleep rolled finally over
him, "just the same — that guy,
Shakespeare, was right — you gotter
— blow — your own — horn "
Iris In
(Continued from page 46)
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SVMPATHETK treatment
made the screen version ol
Mam hi 'a i lassii oi thi ' }uartici
Latin, " I rilby" < First National » .
something which belongs in an exclu
sive gallei j ol appealing < an\
\\\ the refreshing sentiment and the
vital pathos arc admirably caughl l>\
the director who makes ol "Trilby"
a work comparable t<> the best of the
stage productions of the play. In its
favor is a dramatic story possessing
fine screen possibilities - a story
which lends itself to every form of
t repression which lias been realized
upon the silversheet, Ik vivid char-
acters stalk across the screen giving
substance and life to the tragic story
of Trilby's romance with Little
Billie — and the unhappy fate which
snuffs out her life as she is deter
mined to rid herself of the malign
influence of the dread Svengali.
Trilby is enacted by Andree Lafay-
ette who was brought over from
France to create the role. She gives
a performance marked with poignant
charm — and singing with divine
romance. The Svengali of Arthur
Carewe is a capital study — a study
sinister and uncanny — quite as Du
Maurier sketched it. And the other
immortal characters are excellently
limned by competent players — who
seemingly caught the spark of the
playwright.
The picture offers no variation
trom the original. It is executed
with fine understanding and feeling.
The types, atmosphere and back-
ground are thorolv convincing. We
enjoyed the unhappy ending the best
— since it is faithful with the play.
There is a happy finish for those who
do not enjoy stark tragedy in their
screen fare. Even this conclusion
does not mar the vital fabric of the
story. "Trilby" — anyway you look
at it. richly deserves a place in the
sun.
H\0 Maurice Tourneur treated
"The Brass Bottle" (First
National) in the spirit with
which it was written, he would have
carried the spectator along on a fan-
ciful journey. Instead, he has failed
utterly to realize its delicate whimsy.
The author of the tale was evidently
influenced by the tales of the Arabian
Nights — particularly. "Aladdin and
His Wonderful Lamp." and 'fash-
ioned an imaginative story saturated
with whimsical humor. An illogical
piece if taken seriously, but because
it was tempered with delicate satire,
it made most enjoyable reading. But
Tourneur has not caughl the spirit of
(Continued on page 99)
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Current Stage Plays
(Continued from page 6)
Province town. — "Sun Up." A passion-
ate tragedy of the North Carolina
mountain folk. The Widow Cagle is su-
perbly played by Lucile La Verne.
Republic. — "Abie's Irish Rose." An
amusing study in temperaments of the
Irish and Jew in which the irreconcilable
is reconciled thru emotion.
Rite. — -"In Love With Love," the story
of a flirt caught in her own love net.
Lynn Fontanne holds you in suspense with
a reality that makes your hca.rt beat.
Selwyn. — "Helen of Troy." A musi-
cal comedy, the book by Kaufman and
Connolly and the lyrics by Kalmar and
Ruby. It has a coherent plot and deals
with adventures in a collar factory.
Shubert. — "Artists and Models," a
revue ; the professional version of the
Illustrators' Show. It includes sketches by
James Montgomery Flagg, Henry Wag-
staff Cribble and Clarence Buddington
Kelland. Adele Klaer, who acts, paints,
and writes poetry, has the lead.
Vanderbilt. — "Two Fellows and a Girl,"
typical Cohan comedy-drama, panned by
all the critics and nocked to by the public.
Winter Garden. — "The Passing Show"
with Jobyna Howland, Joan Hay, Walter
Woolf and George Hassell surrounded by
a chorus of one hundred beauties.
ON TOUR
"Blossom Time." A musical comedy
based on the life of Franz Schubert.
"Bombo," black-face extravaganza.
"Cameo Girl," and "Listen to Me,"
musical comedies of one-night stands.
"Caroline," a musical gem.
"Dew Drop Inn." Second company.
"Irene," with an all-star cast composed
of the original principals of the company.
A musical comedy.
"Irene Castle's Fashion Show/' includ-
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"Kempy," an English comedy.
"Lady in Ermine," a musical comedy
concerning a romantic legend about an
ancient castle.
"Lightnin'." A comedy that crosses
your heart — the one that Frank Bacon
made famous.
"Loyalities," a Galsworthy play with an
English cast — the story of semetic conflict.
"Partners Again," a Potash and Perl-
mutter comedy.
"Sally, Irene and Mary." One of the
best musical shows that have ever blessed
the comedy stage.
"So This Is London." George Cohan
poking fun at American and British
temperaments. Not original cast.
"The Crash," a melodrama by Lincoln
J. Carter and Ralph Kittering, produced
exclusively for the road.
"The Dancing Girl." Song and dance.
"The First Year," a comedy about
"breakers ahead" on the honeymoon.
"The Fool," a drama, about a minister
who tries to follow the life of Christ in
modern locale.
"The Heart of Paddy Wack," with the
old favorite Chauncey Olcott.
"The Old Soak," a play on the order of
"Lightnin'," with Raymond Hitchcock, the
lovable inebriate.
"The Passing Show," as usual a gor-
geous revue.
"You and I," a society comedy, wherein
a career is sacrificed to matrimony and re-
found in the next generation.
"Wang," with the arch comedian, De
Wolf Hopper, a charming revival.
"Whispering Wires," a mystery play
that makes the flesh creep.
"Wildflower," which has a delightful
musical score. Second company.
(Ninety-eight)
The Celluloid Critic
1 1 ontinued from pogt 97)
Vnstey's original. He resorts tn
heav) touches of slapstick which rob
it ol .1 fanciful flavor, 1 1 n > he doc9
succeed in making it mirthful occa
sionally.
"The Brass Bottle" features the
struggles of a young architecl who
comes into possession <>t an ancient
antique from which emerges a grate
t'ul genie after an imprisonment of
»i\ thousand years. Every wish of
the architect is gratified as a result.
But the illusions the black magic of
the story are unfortunately missing.
What is revealed is an array of
hackneyed gags with Ernest Torrence
as the genie, Tully Marshall as a
musty, old professor, and Harry
Myers as the architect executing the
high jinks. The fanciful note is very
faint. As a result the picture is often
stupid. And it could have been such
an effective fantasy.
AS long as Mae Murray continues
to maintain her penchant for
L worshiping at the shrine of
Terpsichore — just so long will she
fail to develop any hidden talent
which may reveal her as an actress of
parts. This star hecause of an in-
dulgent director — who happens to be
her husband — is allowed to pout and
pirouette to her heart's content. The
result is Mae has lost all sense of
poise.
"The French Doll" which created
a mild flurry upon the stage is hardly
substantia] enough to carry one along
with unbounded interest. Its theme
is hackneyed, treating as it does upon
the pursuit of riches by a grasping
French papa and his irrepressible
daughter — who have come to America
to chase an eligible young man from
Xew York to Miami. There is no
vital spark discernible. Tt follows an
even course straight to an orthodox
movie climax — in which the young
eligible is captured after the girl be-
comes wounded in a shooting affair.
The picture is neatly staged and
photographed. But the star needs
repression.
WE cannot mention any direc-
tor in James Young's class
who can be so dependably
erratic. He balances such a fine
achievement as "Trilby." with an im-
possible piece of claptrap such as
"Wandering Daughters" (First Na-
tional). The fault here is not entirely
Mr. Young's. In the first place, the
story which is bared to the mercies
of the screen is an inconsequential,
stupid affair concerning the morals of
young girls — an idea which has long
outlived its usefulness in film circles,
(Ninety-nine)
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but which the producers imagine is
still good meat for the masses. It is
a lot of bunk — this story, which pre-
sents its characters in an ever-con-
tinuous walking marathon from one
set to another. The moral establishes
that it is the wandering boy who pro-
duces the wandering girl. It is told
against a colorless society back-
ground. A poor story, poorly
directed.
THE serial form of melodrama —
wherein much excitement and
thrills are compressed into a
harum-scarum tale of feature length
is exposed again in Fox's "The
Eleventh Hour." The idea goes back
— very far back — to the days of the
ten, twent', and thirt' gallery god
stuff — when Lincoln J. Carter and
Hal Reid turned them out over-
night. This happens to be one of
Carter's which has been revised and
made up to date to fit the modern age
of inventions.
Once upon a time, Louis Sherwin,
the adaptor, scoffed at such intensi-
fied hokum, when criticizing the
drama. Possibly he was laughing up
his sleeve while he doctored up
Carter's pet plot. It keeps moving —
that's something in its favor. And
it concerns a government agent in
conflict with a group of conspirators
determined to embarrass our fair
country. The agent fights them
singly and collectively and before he
rescues the girl — you will see plenty
of melodramatic fireworks which in-
clude daring rescues, escapes, hot
steel, hot furnaces, hot love and pur-
suits thru land, sky and water.
A WEIRD attempt to make capi-
tal of the jazz craze and the at-
tendant moral when the young
irresponsibles absorb some common
sense in Paramount's "Children of
Jazz." It is mad, bad hokum — with-
out rhyme or reason — a tale which
thrusts its characters in wild orgies —
which takes them thru the air in
planes and thru the water in
schooners — which puts them down in
a secluded island presided over by a
quaint figure of yesteryear. The
idea employed is that of cave-man
tactics in taming the young irrespon-
sibles. Jerome Storm, the director,
is out of his element here. The rural
touch comes to the surface ever so
often. It is poorly arranged and
episodic and badly overplayed by
Theodore Kosloff. Wildly improb-
able, but which holds the attention be-
cause one will want to see how crazy
it becomes.
THERE seems to be no way of
judging what stage plays will be-
come entertaining on the screen.
Here is "Lawful Larceny" — which in
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the spoken version w bad, nor
was i "I Inn upon thi
it i-< colorless, 'lull .m<l Btupid. 1 1
been doctored too, probabl) thru
of the ci nsoi - But we did glean
that it concerns our old friend, the
plaj t'ul husband— who d his
wife who pays, pays, and paj
until ^lu- goes to the rescue and
matches her wits against the wilj ad
venturess.
Tlie sponsors have nol injected ;i
single dramatic episode. In tact, the
punch is entirely missing. There are
several interludes which have noth-
ing in common with the story- .-mil
these feature a display of cabaret
life with (iil«l;i Gray and several
Follies uirls shaking their torsos —
to the delighl of the extras and the
spectators. The story is common-
place and the acting is uninspired.
IN speaking of stupid stories, the
prize must be given "The Leove
Piker" (Cosmopolitan-Goldwyn i
for turning out a picture which liter-
ally stands still in its tracks. What-
ever merit the original tale carried
has been lost in transference to the
screen. There is no humor, no sen-
timent, no pathos, no drama, no sus-
pense and positively no movement.
A tame, boresome account of a
snobbish girl who falls in love with
the young engineer in her father's
company. There is no reason to con-
tinue further — you know the follow-
ing episodes. Let us explain, how-
ever, that the conflict rests upon such
a delicate premise as the girl's refus-
ing to marry the youth because his
father is an uncouth pipe smoker. Oh
yes, he develops some manners in
the end — and the wedding takes place
per schedule.
MADGE KENNEDY must be
given more suitable stories
than 'The Purple Highway"
(Paramount) if she wants to bask in
the spotlight of her erstwhile popu-
larity. The piece places a heavy
strain upon this able pantomimist —
who docs manage to appear genuine-
ly human in a sticky, sentimental ad-
venture of a girl placed on the heights
by a couple of artistic failures. They
write a musical comedy for her and
she neglects them in responding to
the advances of a wealthy stage-door
Johnnie. The customary movie end-
ing is tacked on to leave us smiling
when we say good-bye. There is
little resemblance in this piece with
the original — once known as "Dear
Me." Monte Blue conveys the impres-
sion that he has lost his last friend
in the role of the neglected play-
wright.
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Science Discovers the Secret
of Carusos Marvelous Wee
WHY is it that the humble
peasant boy of Italy be-
came the greatest singer
of all time? This diagram of his
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marvelous voice was due to a
superb development of his Hyo-
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°We Guarantee
Hour Voice Can
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EVERY normal human being has a Hyo-Glossus muscle
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Caruso had to work many years developing that muscle before
his voice was perfect. Whether your voice is strong or weak,
pleasant or unpleasant, melodious or harsh, depends upon the
development of your Hyo-Glossus muscle. You can have a
beautiful singing or speaking voice if that muscle is developed
by correct training.
Prof. Feuchtinger's Great Discovery
Professor Feuchtinger, A. M. — descendant of a long line of
musicians — famous in the music circles of Europe for his suc-
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the Hyo Glossus muscle. Dissatisfied with the methods used by
the maestros of the Continent who went on year after year
blindly following obsolete methods, Eugene Feuchtinger devoted
yars of his life to scientific research. His reward was the
discovery of the Hyo-Glossus, the "Singing Muscle" — and a
system of voice training that will develop this muscle by
simple, silent exercises.
> i r 1 1 1 1 1 1 1 1 1 1 ■ 1 1 1 1 1 1 ■ 1 1 ■ i ■ 1 1 1 1 ■ 1 1 1 1 1 1 1 ■ 1 1 1 1 1 1 ■ 1 1 1 ■ i ■ 1 1 ■ 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 m 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 : 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 > 1 1 ■ 1 3 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 ■ 1 1 1 1 1 1 1_^
Perfect Voice Institute, studio 12-77
1922 Sunnyside Avenue, Chicago, Illinois
Please send me FREE Professor's Feuchtinger's book, "Enter Yout 1
World." I have put X opposite the subject that interests me most. |
I assume no obligation whatever. |
D Singing D Speaking D Stammering D Weak Voice |
Name |
Address §
City and State Ac* I
Opera Stars Among His Students
Since the Professor brought his discovery to America hun-
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10,000 happy pupils have received the benefits of this wonderful
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There is nothing complicated about the Professor's methods.
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The Perfect Voice Institute guarantees that Professor Feuch-
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A Beautiful Voice for YOU
You cannot even guess the possibilities of your own voice.
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If you want to improve your speaking voice — if you stammer
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Name. . .
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• Age .
(Three)
IF it's a Paramount Picture it's the best show in town/
paramount (pictures
(Four)
I
( »>\ i R PORTRAI I — H wt\ PSGCI
bj E, Dahl from a photograph by Horwitz
Paci
A Portfolio of Players, Stage and Screen: Hope Hampton, Pedro de Cordoba,
\ mi Pennington, Nita Naldi, * onrad Nagel, Maj M 1 ivoy, Madge Kennedy 11
Questions and Answers, Asked and answered by Harry ( m
The Powers Behind the Screen, The third instalment Stanton Leeds 20
Cameo Kirby, Gentleman Gambler, A portrait Study 21
When I Come Back, A promise Rodolph Valentino 22
Contrasts 24
Famous Heroines No. Ill, Leatrice Joy as I tester Prynne
Foreign Films, Eur< ipean studii is at a glance ( inemat
Scaramouche, Rex Ingram's picture in short-story form Cardan Malherbe Hillman J.s
The Gold Girl of the Follies 33
Hollywood Homes, Cecil B. De Milk's >4
Glenn Hunter — On and Off Homer ( ro.
The Inescapable Russians, A picture page $8
Fathers and Daughters
A Lover of Life, An in ten iew with Eulalie Jensen Maude ( heatham 40
Rabindranath Tagore, A portrait 42
The Photographer Takes the Stage, Classic's monthly theatrical department 43
The Celluloid Critic, Selects "Rosita" as the best picture of a second great month Laurence Reid 47
Iris In, Pertinent and impertinent screen comment II. II'. Hanemann 50
A Daughter of Tragedy, 1 da Rubenstein 51
Flashes From the Eastern Stars, Of the stage, on the screen Caught by the Editor
The Slave of Desire, Fiction Grace Lamb
Abandon, (iilda Gray's latest portrait
Classic Considers The « reat and the near great
Getting Married and Unmarried ! Lew (. 'ody
Why Do People Get Divorces? Helene Chadwick
A Snare and a Delusion, A
unan's negligee <>4
A Happy Young Man, Alfred Lunt is the one Faith Service 65
The Hollywood Boulevardier Chats Harry ( an
The Movie Encyclopedia By the Answer Man 70
New Books In Brief Review 7°
iption $2.50 per year, in advance, including postage, in the United Stairs. Cuba. Mexico ami Philippine Islands. In (
$3.0»>; Foreign Countries $3.50 per year. Single copies 25 cents postage prepaid. United States Government stamps accepted,
Subscribers must notify us at once of any change in address, giving both old and new address.
Published Monthly by Brewster Publications, Inc., at Jamaica, N. V.
Entered at the Post Office at Jamaica, S. Y., as second-class matter, under the act of March 3rd, /.s"9. Printed in 17. S. A.
Eugene V. Brewster. President and Editor-in-Chief ; Guy L. Harring.on. Vice-President and Business Manager; L G. Conlon, Treasurer;
E. M. Heinemann. Secretary.
EXECUTIVE and EDITORIAL OFFICES. ITS DUFFIELD ST., BROOKLYN, N. Y.
Copyright, 1923, by Brewster Publications, Inc., in the United States and Great Britain.
SUSAN ELIZABETH BRADY, Editor
Adele Whitely Fletcher Managing Editor
Harry Carr Western Representative
A. M. Hopf muller Art Director
Duncan A. Dobie Director of Advertising
Classic comes out on the 12th of every month, Motion Picture Macazink on the 1st, Hfvi n on thi
Announcement for January
Kenneth Macgowan, the youngest and must brilliant of theatrical authorities, is going
to write an article every month for Classic on "The Play of the Month" * * * Laurence
Reid, the besl Of the movie critics, will head his monthly department with "The Movie
of the Month" * * * Should be interesting. * * .* A stage star lias interviewed a
screen star, and each one insisted upon talking about the other. * * * Anyway, Doris
Kenyon tried to make Richard Barthelmess talk about himself. * * * Leonore Ulric
tells what she thinks of California. You'd be surprised! * * * The lovelies) assort-
ment of pictures we have ever offered. * * * Why donl you buy Classic. * * * It is
the most beautiful screen magazine on the stands * * ' \ud donl forget, the January
number is a Christmas Number. *
(Five)
Current Stage Plays
(Readers in distant tozvns will do well to preserve this list for reference when
these spoken plays appear in their vicinity.)
V> V,
Ambassador. — "The Courtesan." A lively and
entertaining musical comedy. Alys Delysia and
Donald Brian head the cast.
.Ipollo. — "Poppy." A musical comedy concerning
a strolling swindler and his daughter ; W. G. Fields
and Madge Kennedy in the leading roles.
Belasco. — "Mary, Mary, Quite Contrary." Mrs.
Fiske, supported by several English players, in a
St. John Ervine comedy.
Belmont. — "Tarnish." A finely acted play about
a. once. idle rich family, now fallen to a state where
the salary of the daughter keeps the wolf from
the door. Ann Harding does some excellent acting
as the daughter.
Bijou. — "The Whole Town's Talking." A farce
by John Emerson and Anita Loos, well-known
motion-picture scenarists, written around a movie director who
ignores the Eighteenth Amendment.
Booth. — "The Seventh Heaven." Hand-made on melodramatic
pattern in a Montmartre tenement in Paris, of an admixture of
love, regeneration, humor and unreality. An excellent per-
formance with Helen Menken starring.
Broadhurst. — "The Dancers." Richard Bennett in a play by
Gerald Du Maurier. Review later.
Carroll. — "Vanities of 1923," with Peggy Hopkins Joyce lead-
ing the delectable and innumerable vanities.
Casino. — "Wildflower," in which lovely Edith Day flashes thru
an exquisite musical score.
Century. — Sir John Martin-Harvey's English company in
'repertoire.
Century Roof. — "The Nine O'Clock Revue." Arthur Ham-
merstein's London importation with an English cast. It is a
simple but colorful revue.
Cohan. — "Adrienne." A musical comedy with an unusually good
chorus. Billy Van and Richard Carle, the latter of "The
Spring Chicken" fame, take care of the laughs. Lou Lockett
and Margaret Ross introduce a new dance, Adagio.
Comedy. — "Children of the Moon." A modern story of a
moon-mad daughter, a lover and a possessive mother. Florence
Johns does fine work as the daughter.
Cort. — "The Swan." Eve Le Gallienne in another play from
the Hungarian of Franz Molnar.
Daly's.— "Ginger." A lively musical comedy with Tom Swift
and Nellie Breen.
Elliott. — "Rain." A bitter tragedy by Somerset Maugham ; a
violent attack on the repressions of Puritanism. Jeanne Eagels
is superb in the leading role.
Eltingc. — "Red Light Annie," a melodrama of the underworld
dealing with the drug question. Mary Ryan in the leading role.
Empire. — "Casanova," a glamorous eighteenth-century romance
adapted from the Spanish by Sidney Howard, featuring Katherine
Cornell and Lowell Sherman.
Forty-eighth. — "Zeno." This melodra-
matic mystery play, by Joseph R. Rinn,
deals with the newest brand of crooks,
electricity and radio.
forty-ninth. — "For All of Us." A play
by William Hodge. The cast includes the
author, Florence Mason and Marion Ab-
bott. Review later.
E razee. — "Tweedles." A comedy by
that team of humorists, Booth Tarkington
and Harry Leon Wilson, built on a- skele-
ton of family pride. Gregory Kelly and
Ruth Gordon, the young pair conspired
against, do good work while reducing all
the overly proud to mere "Tweedles."
Frolic. — Grand Guignol Players of the
Grand Guignol Theater, Paris, in rep-
ertoire of drama and comedy given in
French.
Fulton. — "Nifties of 1923." An inter-
esting revue which includes a color ballet
Classic Lists the Plays That
You Should See
H
Tarnish
Tweedles
The Nervous Wreck
In Love with Love
Children of the Moon
Casanova
with changing lights proving very effective on the
costuming of the chorus. The cast includes Sam
Bernard, William Collier, Van and Schenck, Ray
Dooley and Lina Basquette.
Gaiety. — "Aren't We All?" Cyril Maude in a de-
lightful light comedy that revolves around a phi-
landering husband and an indiscreet wife. Mr. Maude
in a Grumpyish character sets a rare pace of fun
and his support keeps it up.
Garrick. — "Windows." This John Galsworthy play
centers about a household plunged into a turmoil over
a young girl just out of prison, where she was sent
for smothering her illegitimate child, who has been
employed as housemaid.
Globe. — "George White's Scandals." A de luxe
edition of gorgeously gowned beauties that make
scandals appetizing, including parodies on the "Chauve-Souris" and
the Moscow Art Theater.
Greemmch Village. — "The Shame Woman," by Lulu Vollmer,
author oi "Sun Up," a current success.
Harris. — "The Nervous Wreck." An excellent farce by Owen
Davis. Otto Kruger plays the part of the nervous wreck, a
young clerk sent West to cure himself of the diseases he
imagines, he has. He wishes to be left alone to die peacefully,
but June Walker, as the entrancing heroine, tries to run away
with him and thus starts an endless amount of trouble for him.
Hudson. — 'The Crooked Square," by Samuel Shipman with
Edna Hibbard and Ben Lyon taking the leads.
Jolson's. — E. H. Sothern and Julia Marlowe with a capable
and supporting company in repertoire of Shakespeare's plays.
Klaiv. — "Nobody's Business." Francine Larrimore and Frank
Conroy in a good-humored comedy.
Knickerbocker. — "The Lullaby." An Edward Knoblock drama
starring Florence Reed. This is the storv of a sinning woman's
life.
Lenox Hill. — "Sun Up." A passionate tragedy of the North
Carolina mountain folk. The Widow Cagle is superbly played by
Lucile La Verne.
Liberty. — "The Magic Ring." Mitzi, after a two-years' ab-
sence, returns as a street urchin in a fantastic musical comedy
which revolves about a magic ring. Harold Levy is responsible
for some very catchy musical numbers of the play.
Little. — "Chicken Feed." A comedy dealing with small-town
life, setting forward what happens about the fifteenth year of
married life. Roberta Arnold is featured.
Longacre. — "Little Jessie James," a musical comedy with Nan
Halperin as Little Jessie. The Paul Whiteman band dubbed the
James Boys takes care of the orchestration.
Lyceum. — "Little Miss Bluebeard." Irene Bordoni in a comedy
that cleverly misses being risque. The plot hangs on the belief
of the heroine that she is married to two men. Miss Bordoni
sings several fascinating ballads.
Henry Miller. — "The Changelings." A
comedy by Lee Wilson Dodd. The cast
includes: Henry Miller, the producer,
Blanche Bates, Ruth Chatterton, Laura
Hope Crews.
Morosco. — "Scaramouche." Vivienne Os-
borne and Sidney Blackmer in a play
dramatized from Rafael Sabatini's book of
the same name.
Music Box. — "Music Box Revue." A
new edition of Irving Berlin's extravagant
display of beauty and humor.
New Amsterdam. — "Ziegfeld Follies."
The 1923 edition of the Follies.
Palace. — Keith vaudeville. Always a
good bill, and drawing more and more
talent from the headliners of the regulars.
Playhouse. — "The Player Queen." A
play by William Butler Yates; and "The
Showing Up of Blanco Posnet," by George
Bernard Shaw, with Pamela Gaythorne,
(Six)
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(Seven)
Joanna Roos, Soph •■ II and oil
/'/\ l ..iim/i " Pauline I oi d
in -i plaj from thi Hungarian ol l
Mi ilii.ii, adapted Ii) Edna Si
Mill. IN. I
/"> : I In H ll ' All III
(cresting pla> b) Maxwell Anderson with
George -Vbbott and Frank Shannon,
Republic, "Abie's Irish Rose." An
amusing ^ 1 1 1 » ! > iii temperaments oi the
Irish and Jew in which th< ilable
onciled thru emotion.
Rits, "In Love W ith Love," i^ the
oi .i tlii t caught m her own love
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Sehtrvn, "Battling Buttler." A peppj
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Shubert. - "Artists and Models," ;i
rev no : the professional version of the II
lustrators' Show. It includes sketches by
James Montgomery Flagg, Henrj V
staff CrihbK- and Clarence Buddington
Kelland. Adele Klaer, who acts, paints,
and writes poetrj has the lead.
Thirty-ninth. — "A Lesson Tn Love."
Emily Stevens and William Faversham in
an interesting and emotional comedy-
drama.
Times Square, — "Helen <>t Troy.'' A
musical comedy,' the book by Kaufman
and Connolly and the lyrics bj Kalmar
and Ruby. It bus a coherent plot and
deals with adventures in a collar factory.
Vanderbilt. — "Two Fellows and a Girl,"
typical Cohan comedy-drama, panned by
all the critics and (locked to by the public.
Winter Garden. — "Greenwich Village
Follies." A beautiful spectacle seasoned
with goodly humor.
ON TOUR
"Abie's Irish Rose." An amusing study
in temperaments.
"Artists and Models." Second company.
"Blossom Time." A musical comedy
based on the life of Franz Schubert.
"Bombo," black-face extravaganza.
"Cameo Girl," and "Listen to Me,"
musical comedies of one-night stands.
"Caroline," a musical gem.
"Dew Drop Inn." Wherein a black-
faced comedian leads the musical show.
"Good Morning Dearie." Entertaining
musical comedy.
"Icebound." A dramatic study of New
England life. Awarded the Pulitzer prize
tor 1522-1923.
"Irene." A musical worth-while comedy
with the original cast.
"Irene Castle's Fashion Show," includ-
ing dancing and musical numbers.
"Jack and Jill." John Anderson's cele-
brated musical revue.
"Kempy," an English comedy.
"Kiki." Lenore Ulric as a bewitching
gamine.
"Lady in Ermine." A musical comedy
concerning a romantic legend.
"Lightnin'." The comedy that Frank
Bacon made famous.
"Little Nellie Kelly." A typical George
Cohan comedy.
"Loyalities," a Galsworthy play with an
English cast — the story of Semitic conflict
"Partners Again," a Potash and Perl-
mutter comedy.
"Sally, Irene and Mary." One of the
best musical shows extant.
"Secrets." Margaret Lawrence and the
original cast, in an English comedy-drama.
"So This Is London." George Cohan
poking fun at American and British tem-
peraments. Not original cast.
Theatre Guild Repertory Company
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64 East Richmond, Toronto, Canada.
headed by the versatile and delightful
Basil Sydney in : Andreyev's "He Who
Gets Slapped," Ibsen's "Peer Gynt" and
Shaw's "The Devil's Disciple." All
former New York successes.
"The Bat." The Hopwood-Rinehart
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"The Crash," a melodrama by Lincoln
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"The Passing Show," as usual a gor-
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"The Perfect Fool." Edwin Wynri
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"Thumbs Down." A somewhat wild
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"Up the Ladder," a drama concerning
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"Wang," with the arch comedian, De
Wolf Hopper, a charming revival.
"Whispering Wires," a mystery play
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"Wildflower," which has a delightful
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"You and I," a society comedy, wherein
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QUESTION
By Wright Field
You have said that you love me . . .
I have not tasted food today,
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all day
THE EGO
{To any man- — or zvomaii)
By Wright Field
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The World
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And keep your worm-like views
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r A 1 the enemy that is
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<^s4 girl's skin can be a constant humiliation to her — or it can be one
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Your skin can be as lovely as any woman's
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lJON'T be a fatalist about your
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(Ten)
/.
oo <f mm
»° SCREEN
IL
Photograph by Ira D. Hill
Hope Hampton has been conscientiously and persistently working toward better
things, and for her part in "The Gold Diggers," the critics had only praise
■ —
r
Photograph by Maurice GcMher*
This sterling actor, like so many others,
divides his time betzveen stage and screen.
He is now playing in the New York stage
success, "The Jolly Roger," and has just
completed an English film
PEDRO De CORDOBA
_i
Photograph bj Rich.in] Sniithall (Irani
ANN PENNINGTON
Whenever a show in New York is in
danger of flopping, the powers just caU
in little Miss Pennington and the day is
saved. Pinch hitting scons to be her
"metier." Piquant is an rked
word, but it belongs to Ann
We cant resist quoting Classic's own
"Iris In" about this fascinating woman.
Speaking of "Lawful Larceny," Hane-
mann said, "It's Naldi, but it's nice!"
Photograph by Donald Biddle Keyes
NITA NALDI
CONRAD NAGLE
Whose work is steadily improving under
the Goldwyn banner. He has just com-
pleted "The Rendezvous" and will play
Paul in Elinor Glxn's "Three Weeks"
'
This starlet has had hard luck, but it has
turned noxv, and she is playing Beatrice
Chetu opposite Glenn Hunter in "West of
the Water Toiver"
Photograph by StraussPeyl ■
MAY McAVOY
Photograph by White Studios
MADGE KENNEDY
This irresistible comedienne is twinkling
on the stage in "Poppy" and is at the
same time on tour in her photoplay. "Tin-
Purple Highway"
Paramount
POLA NEGRI
The genius of the screen
%gt
Edwin Bower Hesser
MABEL NORMAND
The most temperamental
Clarence S. Bull
BLANCHE SWEET
The most extraordinary
personality
MADGE BELLAMY
The prettiest
Questions and Answers
WHEN they know you are from Hollywood, you
are due for a cross-examination ; and when I am
cross-examined, this is what I tell them :
The Question : Who is the finest artist in the movies?
The Answer : Taking all things into consideration, the
finest artist among the men is Charlie Chaplin ; Lillian
Gish among the women.
And if it comes to a decision between the two, we will
have to agree upon what we mean by an artist. Charlie
is a conveyor of ideas. Lillian Gish is a delineator of
characters. Charlie is never anybody but himself and
never tries to be.
Charlie expresses
himself and his
quaint original
angle on life. Lil-
lian expresses
other people and
their angles on
life. S t r ict ly
speaking, I sup-
pose you might
say that Chaplin
is not an actor at
all. That is to
say, he never
merges his own
character into the
representation of
some character
out of life.
Charlie is essen-
tially a painter.
Only he uses
himself and a
camera instead of
an easel and a
brush. No artist in all the history of art has given to
the world more exquisite pictures than the perfect little
thumbnail sketches that Chaplin paints. He is a poet,
only he uses his own feet and a pair of big shoes instead
of iambic tetrameter. Charlie's little pictures of wistful
poverty are among the great satires of the world's liter-
ature. Lillian Gish, on the other hand, is a great actress
in the sense of casting off her own personality and put-
ting on another like a coat.
It is an incorrect use of terms to call Lillian a genius.
Mabel Normand is a genius — perhaps the most remark-
able that ever came to the screen. Pola Negri is another.
Kenneth Alexander
CORINNE GRIFFITH
The second most temperamental
LILLIAN GISH
The finest artiste
Abbe
Lillian is not a genius. She is a master workman. With
Mabel Normand, acting bubbles out of her soul like
water from a spring. I dont believe she gives it much
thought. Also if she gave it much thought, she would
hurt her work. She is at her best when she "just does
it." The same is true of Pola Negri. One of the reasons
why "Bella Donna" failed artistically was because Pola
began figuring out what to do instead of plunging right
in as she has done when she had a director she knew and
trusted. With Lillian Gish, on the other hand, it is all
conscious effort. She is always shooting at a mark. She
studies the character she is to portray as a surgeon
studies a disease. She even figures out in her own mind
what such a girl would eat ; what she would do on her
holidays ; what kind of friends she would have. She
may never use these points on the screen ; but it helps
her to get "clear under." I think her work in "Broken
Blossoms" was the
highest point to
which screen acting
has ever been lifted.
The Question:
Who is the most in-
telligent woman- on
the screen ?
The Answer : It
lies somewhere be-
tween Mary Pickford
and Louise Fazenda.
Mary has the level
keen intelligence of a
captain of finance. I
think she could make
a success of any busi-
ness in the world.
She would be a glow-
ing journalist; I am
inclined to think she
would be one of the
most remarkable
newspaper editors the world of journalism has known.
With absolute seriousness I nominate Mary for this
woman cabinet member they say is due to happen before
long. She has vision and a level sanity that is almost
appalling. I have never known any big public man with
such an ability to reduce a situation to its native elements.
Louise Fazenda is another type of mind. She is almost
as shrewd and keen in a business way as Mary but she
(Eighteen)
Kitw in Hnwrr Il<-*srr
THEDA BAKA
The most charming socially
Witttl, I. A
FLORENCE VIDOR
The most beautiful
Wit/, I. I \
RUTH ROLAND
The best business woman
11 • • - • u - 1 1 ■
LOUISE FAZENDA
The most original
Harry Carr Settles These Cinema
Queries Once And For All
sometimes allows herself to he blinded by fits of self-pity
and a variety of self-consciousness that manifests itself
as "acting." You are not sure when you are down to the
real genuine Louise Fazenda, or when she is just ''act-
ing." Without any comparison, however, she has the
mo-~t original, daring and Mashing intelligence of any girl
in the movies. Mary always makes me think of a bank
with shiny desks ; Louise is more like a circus. Mary
may emerge some day as a great financier; I shouldn't
be surprised to see Louise become an author of real note
and genius.
The QUESTION: Who is the most charming socially0
The Answer: The most finished social charm I ever
met in the movies came from a Russian princess who
was working as an extra. She had escaped from Siberia
in a box car with thirty drunken Russian Cossacks who
were trying to assault her most of the time and who were
held at bay by her
wit and charm of charlie chaplin
manner. I cant re- The finest artist
member her name © Strauss-Peyton
and dont know what
became of her. She
just blew in and
blew out again. Of
established actresses,
the most charming
woman I ever met
is Theda Bara. I
imagine it is some-
what studied and
planned for on
Theda's part ; never-
theless she has
charm and poise
and a light flashing
wit and at the same
time depth and a
rare tact and a de-
lightful instinct for
the color of words and the natural boundaries of a social
conversation.
The Question : Who is the most extraordinary per-
sonality ?
The Answer: Is it Mabel Xormand or Blanche
Sweet? Certainly one of the two. Mabel is the only
person I ever knew who seemed to take a delight in put-
ting her worst foot forward. Mabel is one of the most
thoroly and widely read women I have ever known but
she religiously conceals the fact. If Mabel buys the At-
lantic Monthly, she carries it home wrapped up in the
Police Gazette. Mabel has a good angel that she always
keeps locked up where nobody can find her. She has a
bad angel whose name is Wild Impulse. The good little
sweet, tender-hearted child who is the real Mabel sits at
one side saying, "Dont. oh dont" to the reckless little
Mabel who 'rushes wildly, intcmperatelv on. refusing to
listen. Blanche Sweet is another »irl who keeps the besl
of herself where nobody can see — who covers up a tender.
-\ mpathetic heart
and tries her best
to be something
other than the
sweet lovable
girl that she is.
Underneath the
Blanche S w e c t
that the world
knows is a
strange tragic
note that is hard
to explain and
understand.
The Oies-
tiox : Who is the
richest woman in
the movies -
The Answer:
In her own right.
Mary Pick ford.
She has a large
fortune in securi-
ties that are like
greenbacks in the
bank. It is
mated that Mary is about twice a millionaire. Ruth
Roland is also a very rich woman as a result of her real-
estate investments. The ultimate extent of her fortune
will depend somewhat upon the future of Los Angeles.
With her immense oil fields; with a wealth of cheap elec-
tric power in her mountains, with her great fruit and
cotton interests and her proximity to the ( irient, it looks
as tho Ruth had in the future of Los Angeles a pretty
safe bet.
If we consider her husband's fortune as hers, which
it i<, in fact, under the California law. then Norma
( Continued on poyc S2)
© Strauss-Peyton
MARY PICKFORD
The richest and the most intelligent
(Nineteen)
The Powers Behind the Screen
Who's Who in the Motion-Picture Business
By STANTON LEEDS
Editor's Note. — This is the third of the series of five articles on the business
end of the motion picture and <i discussion and a description of the truly great
personalities who have put the movies on the map
THE exhibitor."
producers are
wont to complain,
"is the original cry-
baby."
However that may be,
the chorus against
Adolph Zukor, after he
set out on his ambitious
project of supplying
regularly each year. two
feature pictures a week,
rose to a scream. It was
maintained that high
prices would scare off
the public.
The idea was general,
but it grew to be the
particular white-headed
pet of W. W. Hodkin-
son, the Cassandra of
the picture business.
Much given to prophecy,
his warnings have rarely
been heeded, but that
they deserved better of
his hearers is shown by
his own success and his
record as an independent
distributor of a program
of unusually we 11 -se-
lected pictures. "Down
to the Sea in Ships" was
his. So was "Tourney's
End."
Tall, reserved but
courteous, with a precise
manner of speech that
bears witness to his gift
for balancing all the
forces that assert their
weiglit in any particular
problem, he was the first president of Paramount, and on
the subject of the company's attitude toward exhibitors,
he and Zukor had words.
It lias been said authoritatively of Adolph Zukor that
he will express, in private, without reserve all the stored-
up antagonism he may feel toward some rival, and the
next minute receive this same rival in his office, welcoming
him with all possible sympathy and attention, but this
quality, that is also Lloyd George's, did not signalize his
difference with Hodkinson. Their interchange of com-
pliments is one of the classics of Broadway.
Its upshot was a meeting of the board of directors.
Hodkinson found himself suddenly out in the cold, and.
from time to time, others have followed him from the
realm ruled by Zukor — notably B. P. Schulberg, who, on
his own, discovered Katherine MacDonald, the American
Beauty, to a waiting world; Hiram Abrams, now manag-
ing for Pickford, Fairbanks, Griffith, Chaplin and others,
their own distributing concern ; Al Lichtman. at thirty a
salesman with an amazing reputation for results ; Whit-
Photograph by Pach, N. Y.
W. W. Hodkinson, the Cassandrat of the picture busi-
ness. Much given to prophecy, his warnings have rarely
been heeded; but that they deserved better of their
hearers is shown by his own success as an independent
distributor. "Down to the Sea in Ships" was his offering
man Bennett, a Harvard
sumnui cum laude man
and now producer of his
own pictures, and John
D. Williams.
These men are Zukor
men, and they have the
Zukor idea just as surely
as S. R. Kent. Famous
Players' present sales-
manager, has, but that
John D. Williams ever
was with Adolph Zukor
seems to have been for-
gotten.
An Australian, he was
disregarded until he
loomed up, apparently
from nowhere. Asso-
ciated with him was H.
O. Schwalbe, erstwhile
secretary of the Stanley
Company which owns a
great chain of theaters in
censor-ridden Pennsyl-
vania— in fact, that great
state, if not its perform-
ing censors, is said to eat
out of this company'.s
hand.
At any rate, with this
immense market back of
them, Williams and
Schwalbe proceeded to
organize the co-operative
company which they
called the First National.
"Paramount has the
stars," they said. "That's
Zukor's talking point.
Till we get 'em away, we
cant sell the country."
Now exhibitors, of course, had the neat notion that
if they were to make pictures themselves they wouldn't
have to buy them from Paramount. If they didn't have
to pay so much to Paramount, they would make more
themselves. Williams and Schwalbe found that these
very ideas were rich, red meat for them.
In return for pictures to come, exhibitors banked money
in the First National war chest and this money was used
to assist such producers as D. W. Griffith. Thomas H.
Ince, Marshall Neilan and ,so on, to make their own pic-
tures. The pictures, of course, were First National's to
distribute, and on these pictures exhibitors having a First
National franchise had a primary claim.
The money was also used to hire stars to appear in
pictures. From Zukor, Williams and his crowd coaxed
Mary Pickford and a merry war was on.
Thru the loss of Mary Pickford, Zukor found all his
valuable contracts threatened. He countered by buying.
or building, theaters. In short, he became again what he
{Continued on page 84)
(Twenty)
Cameo Kirby, Gentleman Gambler
John Gilbert in the picturesque title-role of the
new Fox film, "Cameo Kirby," by Booth Tar-
kington and Harry Leon Wilson. Photograph by
Edwin Bower Hesser
I Twenty-one)
Photogr
Photograph by
Victor George
When I
Come Back
A Promise
By
RODOLPH VALENTINO
Photograph by
Donald Biddle Keyes
rHE only Valentino sits
easily at one end of a
neutral-tinted d av c n-
port in his New York apart-
ment. The room is in disor-
der, stripped of its draperies
and the little odds and ends that make of four walls a
home. Trunks and boxes of all shapes and sizes are about.
Expensive luggage of every description fairly litters the
place. He is leaving with his wife, Natacha Rambova,
for a belated honeymoon in Europe. The interviezver is
confused, frankly, rattled. One has heard so much of
this man and dreamed so much more, that when one
finally is in The Presence, words simply desert, or worse
still, mutiny, and intelligent questions become chaotic
stammerings. Yes, one is a little excited. Not so Valen-
tino. He is smoking cigarets in an inordinately long and
Above is a study of Valentino and his remarkable
wife, Natacha Rambova, taken in their own apart-
ment before they sailed for Europe. The little round
pictures look like "before and after" his coming
back to the cinema
preposterously slender ivory
holder. If the couch is neu-
tral-tinted, he is not. He
wears a shining gun-metal
grey-satin lounge suit with
collars and cuffs and frogs
of bright Chinese red. His voice is soft, a little throaty,
musical as all Italian voices are. There is only a trace of
accent, utterly charming. His vocabulary is remarkable.
He speaks:
I have not been happy away from pictures . I want to
start to work again and I believe that that may be soon.
You know I have signed a contract with the Ritz-Carlton
Pictures and Mr. J. D. Williams, who is doubtless known
to you. The arrangement becomes effective with the ex-
piration of my Famous Players-Lasky contract. In
February I shall start making pictures again.
(Twenty-two )
CLASSIC
1 think 1 have the most
wonderful contract it has
r\ cr been a star's privilege
to sign, I had man) other
offers too Do not think
that vanity : I am merely
stating a fact Hut the con
trad that Mr Williams
offered me is exactly the
thing I have been looking
tor ever since "The Four
Horsemen." I am to se-
lect my own stories, my
own cast, ami the director
I think best qualified to
handle the particular story
I wysh to make. I am at
liberty to choose any
member, or the entire
staff necessary to the mak-
ing of pictures these days.
The entire responsibility
will be mine. If the pic-
tures fail, it will be my
fault.
Rut I do not think they
will fail. I have not lost
my head entirely, and do
not mean to try to shoul-
der everything, as so
many motion-picture stars
have been doing lately,
and with such disastrous
results. Oh, no. I shall
pick my own director, but
once he is mine. I shall be
his — if you understand
me? I shall place what-
ever talents I have in his
hands and I shall try to
the best of my ability to
be guided by superior
mentality wherever I find
it. So, I do not think we
will fail.
I dare not fail. I do
not like poverty and I
have had my share of
adversity and disillusion-
ment. Perhaps it has
been good for me — I am
sure it has — but I do not
want any more of it. . . .
I' ale nt i no sighs a little,
smiles a little, and lights
another cigaret. His eyes
are far away. He is
hardly conscious of a
listener. It is as tho he
merely speaks his thoughts
aloud, far-away thoughts,
but not so long ago that
they should be softened
by the merciful hatid of retrospect. So little a 'while ago
. . . and he was stoning poor. . . .
I have been so poor, so what you call broke, that I
hardly got enough to eat. I remember that, and it keeps
me forever humble. I think back on those days and I
think that now I must be carefnl. I must not get the
swell head, because that ruins development ; I must not
think people cannot get along without what I have to give
them, because there was a time when they did; and if I
do not keep faith with my — my — friends who like me,
A character study of Valentino by Russell Ball. Ruddy will start making pictures
again for us in February — unless he has more bad luck with his previous contract.
We hope not, dont you?
they will deny me and I shall be poor and obscure again.
Yes. I have been poor, so poor that I used to haunt the
free-lunch counters. And I always used to go at five
o'clock too — spent the day tightening my belt and waiting
until five o'clock. And the reason I waited till five o'clock
was that all the working-men filled the saloons then and
bought their glass of beer — you were supposed to buy a
glass of beer, but I never had the price — and in the crowd
no one noticed that I had eaten tho I bought nothing. I
( Continued on piu/c
(Tuenly-three)
Foreign Films
W
Above is Sadi Lecointe,
the French Ace, in a
Phocea Film, "The Speed
King." Right is a scene
from the German film
"Struensee," which deals
with the love affairs of a
great statesman and a
Danish queen
Photographs (above, right
and below) © Gaumont
Above is Mary
Johnson in a
Swedish photo-
play called "The
Old Manor."
Right is a scene
from "The Mys-
terious Em-
blem," a Gau-
mont produc-
tion which is
laid in the clos-
ing years of
Napoleon
FRANCE
H EN a man begins to be too attentive to his past, it means
that he has given up hope of a future. If national and
individual psychology conform to the same rule, then one
is inclined to conclude that the future of the film abroad is, to say
the least, obscure. Nearly ninety per cent, of the productions
now being made in Europe are either of a historical or legendary
origin. It is hardly flattering' to the creative talent of contem-
porary writers abroad that in every important produc-
ing country there should be such a marked and
almost exclusive tendency to exploit the past
and ignore the present. However, it would
be unjust to lay the blame for this situa-
tion to artistic poverty, for the policy of
exploring the past and ignoring the
present has largely an economic sig-
nificance. It is cheaper to go to a
public library than to submit to the
demands of high-priced authors,
and as the Budget has become the
Bible of industries as well as
governments abroad, the role of
the bookkeeper has assumed a
greater importance than that of
the author.
The current productions in France
are an excellent illustration of this
principle, yet the revealing thing
about them is that the principle of
economy can be carried out without
any undue sacrifice of art or impres-
siveness. In fact, in many instances
the artistic value of the picture is
actually enhanced. This is particularly
true of the ambitious eight-part drama,
''The Boy King," being made by the
Societe Cine-Roman, which not only dis-
penses with the author but evades the exactions
of the property-man. The story deals with one of
the most dramatic episodes of the Pre-Revolutionary era, in which Louis XVI,
Marie Antoinette, the pathetic Dauphin, and Lafayette figure largely. The
background of the action is the Palace at Versailles, a majestic mass of
architecture which lends immense dignity to the picture and which for the
first time has been conceded by the government to filming.
The impressive Gau-
mont production, "The
Mysterious Emblem,"
likewise has recourse
to history, dealing with
the closing years of
Xapoleon and the in-
trigues of his loyal
followers to bring him
back to power : evi-
dently an inexhaustible
source of drama and
dealt with in this in-
stance very convincing-
ly. Aubert, who has
just. brought Sessue
Hayakawa to Paris to
star in a modern film,
also bows to the his-
torical trend in "Buri-
dan, the Hero of the
Tour de Nesle," which
goes back even farther
(Twenty-sis)
Cineman Glances Over the
European Studios
to Louis V m which intrigue runa deep .m«l passion runs high
and the plot thickens to the point of being oppressive when
Buridan turns down Queen Marguerite of Bourgogne in favor of
her humble but charming rival. Myrtille. From these pictures il
can be seen that the film tan- of France will in the coming season
submit to an intensive course in history such as will beggar their
school-day memoi ies.
GERMANY
rhe origin of this whole movement back to the
pa^t can, of course, he traced to Germany,
where the essential motive was le^> economy
than an effort to escape the stigma of 1
present or \er\ recent past by seekiu
shelter in the neutrality of history.
With a world still hostile to all the
earmarks of Kultur and to any
illusions, however oblique, to the
nefarious influence which critical
eyes can still discern in contem-
porary Germany, the producers of
that country were compelled to
seek subjects which would dis-
arm any lurking prejudices. The
first result was a type of film like
"Caligary," fantastic, hold, experi-
mental, and without any mark of
nationality. But presently this
vogue wore out, and the German
producers began to make their raids
on the past, prying into the history
and legends of all countries, and
selecting subjects which belong to all
times and all peoples. And the result
has been of inestimable value to the film
world, in that it revealed a hitherto unex
plored realm, rich in possibilities, and now
being thoroly exploited by all European countries.
Germany has now added two more films to its
historical collection : "Struensee," which dramatizes a page from Danish his-
tory; and "Peter the Great," which centers around one of the great Czars of
Russia. The former is a picturesque and stirring record of the career of
Struensee, who rose from obscurity to a position of power in Denmark, became
a statesman of talent and authority, but whose weakness (so it was con-
sidered ) was a most
undignified love for the
common people.
Struensee had the King
and the whole Court
against him in bis
plebeian taste, but he
had Queen Caroline-
Mathilde with him,
which was ample com-
pensation. But even in
palaces the way of love
never runs smooth, and
as Struensee's heart was
doubly compromised in
that he had consecrated
it both to a woman
and to an ideal, he paid
the ultimate penalty,
the loyal and devoted
Queen sharing his fate
at the guillotine.
(Cont'd on page 83)
I'll .t.iuraph O liaumuni
Above is a tender moment
from "Over the Wall."
Left is Raquel Meller, a
famous singer and dancer,
in the first film she ever
made in Spain, "The White
Gitane." She is in the
United States
riiotoKrapl
el and Hci'«m t
Above is Alma
Taylor, Eng-
land's Mary
Pickford. Every
country boasts
at least a doz-
en! Left is a
scene from "The
Boy King," an
ambitious his-
torical film story
made in France
(Twenty-seven)
T
HE old coach rum-
bled thru the rough
streets of Gavrillac.
Its squeaking was prodig-
ious, its rumbling im-
mense; but if these things
disturbed the fat lady
with seven chins who sat
in the corner, they had
never an effect on Andre-
Louis Moreau.
He was a dark, lantern-
jawed young man, whose conceit it was that, the world
was mad and that he. Andre-Louis, was made to laugh
at the lot of common mortals. But now he was not sar-
donic, not even satiric. His hand held a little square of
crumpled handkerchief, and his thoughts were among the
stars in the land where the dead dreams go. The mem-
ory was that of a young girl, fair and fragile, a spitfire
if she wished, but with all a spitfire's sweetness. This
was Aline de Kercadiou, orphaned niece of Quintin de
Kercadiou, a grand seigneur in those piping days of
peaceful France, when Louis XVI played at locksmith
in the palace at Versailles.
From this place and palace, where she had been under
the patronage of a powerful lady, Madame de Plougastel.
she had come home once more to the sleepy little Breton
town, and the crumbling chateau. A letter on Andre's
lap told this, and more. "You will find her much
changed." it read. Aline changed . . . how changed . . .
would she still be the Aline who had loved Andre-Louis
long years ago?
"Look! Look!'" whispered Philippe de Vilmorin,
Andre's companion, divinity student and earnest revolu-
Scaramouche
Written In Short Story Form
By
GORDON MALHERBE HILLMAN
tionist in those dark days
when a republican was a
marked man.
Down the steep street
came a solemn proces-
sion. Four men were
carrying a quiet inert bur-
den, whose dark head
swayed stiffly as they
walked. Ahead of them
stalked the gigantic figure
of the gamekeeper of the
of all mighty nobles, the
As they stepped from the
preserves of that mightiest
Marquis de la Tour d'Azyr.
coacjh, a peasant told them : "ft is Mabey. He was poach
ing on the preserves of M. le Marquis. They shot him
dead."
Into the squalid hut of Mabey, Philippe followed the
body and its bearers, and as the poacher's wife moaned
and a naked child huddled crying in a corner, he knelt
to pray for the soul of a poor peasant, become an outlaw
thru that grim specter of starvation that stalked the land.
There was a rustle outside, the stopping of a mighty
traveling carriage, and there entered, stooping at the nar-
row door, that rakishly handsome roue, that bewigged
and beruffled scourge of the countryside, that minor
tyrant, the Marquis de la Tour. With him, snuff-box and
cane in hand, minced his friend, the little jackal who
trailed the tiger, the Chevalier de Chabrillane. They
sniffed, they smiled, they exchanged snuff-boxes, for all
the world astho they were in the gilded salons of Ver-
sailles instead of a filthy hut, looking upon foul murder.
Philippe the rebel. Philippe the hot-head, sprang up.
his rage red in him, an accusing finger at the Marquis.
(T-ci nty eight)
"Y ou mock , Monsieur.
You laugh. Will you laugh,
I wonder, when God pre-
sents his reckoning to you
t» >r the bl(K)d .iiid plunder
with which voui hands are
full
Chabrillane sprang t"i
hut the Marquis deli
Otteh tapped lit— snuff 1>< \
"Monsieur," he said coldly
and slowly, "your revolu-
tionary sentiments betray
the indiscretion of which
Bttdame your mother must
have been guilty."
Philippe was a priest and
.1 man of peace. For a
moment he tailed to com-
prehend; then he struck
the Marquis square in the
face. Too late \tulre saw
the trap which had been
baited for his friend. The
outcome i>i such an act was
a duel. The Marquis was
the finest sword in France;
Philippe hut a clumsy boy.
"Hut. Monsieur." he
cried, "see, he wears no
sword. He is a student for
the priesthood."
"But mine is at Mon-
sieur's service." said Cha-
brillane, smiling like a great
cat.
And so it was. The Mar-
quis was lithe a> a serpent :
"You have killed him!" cried Andre. The Marquis ran a lace handker-
chief along his blade. "Of course. He had a too dangerous gift of
eloquence." Below: She swirled out, swung to the heavy curtain
behind her, and met Andre on the stairs
Philippe stood square on to Ids adversary.
A moment sufficed, the Marquis slid his
foot far forward, and his sword ran red.
"Vmi have killed him!" cried Andre.
The Marquis ran a lace handkerchief
along his blade.
"Of course. He had a too dangerous gift
of eloquence."
Supporting the body of his friend. Andre
called after him. *'Come back, you cow-
ardly murderer, and make yourself quite
safe by killing me too1''
The Marquis sprang forward, his sword
held like a whip. Hut Chabrillane held him
bade, and La Tour d'Azyr turned away,
never dreaming that in the shrill-voiced DO)
he bad left behind was to be one of those
searing sparks that soon set all France
ablaze.
For Andre's first thought was of ven-
geance. He would have justice. So for
justice be went to bis godfather, Quintin
de Kercadiou. the country squire, whom
the villagers suspected, not without due rea-
son, was father to this child of unknown
parents. Andre-Louis Moreau. He had
paid for his education, had sent him to the
law school of Louis le Grand in Paris: cer-
tainly there was room for suspicion of the
crusty old bachelor.
Kercadiou bad been a friend to Philippe,
surely be would help avenge bis death. And
so Andre ploughed up the long bill, past the
(Tuenly-nine)
CLASSIC
'Oh," cried the girl in dismay, "now you've gone and spoiled it all." Too late Andre realized
that he had disturbed a rehearsal of a band of strolling players
working windmills, and into the bare and rather savage
hall of his godfather. As he waited, he could see thru a
long window, the shimmer of silks, the ruddier glow of
velvets, the shake of a ruffled sleeve. What gallant, he
wondered, could be wooing Aline. Suddenly the pair
rose and wandered into the glare of sunlight. One was
Aline, the other . . . the Marquis de la Tour !
He fairly sprang at his godfather with the story, and
Kercadiou held up his hands in horror . . . horror not
at the death of Philippe, but at the presumption of ac-
cusing the Marquis of murder. For remember, this was
in a far-off France when nobles were wont to shoot peas-
ants off slate roofs for want of better amusement.
Furthermore, Monsieur le Marquis was pressing a cer-
tain suit with Mademoiselle
Aline. It would endanger
her marriage into a mighty
house if trouble were made.
In short, there was nothing
to be clone, and Andre had
better keep his hands out
of it.
Andre stormed, he swore
he would seek justice at
Rennes, where was the
King's Lieutenant, he
swept out into the hall, and
there tore Aline's lace
handkerchief to shreds. It
had been next his heart for
many a year, and now as it
lay at his feet, Aline her-
self swept thru the open
door. With a cry of joy
she ran toward him, would
have taken him in her arms.
SCARAMOUCHE
Fictionized by permission from Metro. Rex
Ingram's production of the adaptation by Willis
Goldbeck of the Rafael Sabatini novel. The cast:
Andre-Louis Moreau Ramon Xovarro
Aline de Kercadiou Alice Terry
Marquis de la Tour d'Azyr Lewis Stone
Climene Binet Edith Allen
M. de Kercadiou Lloyd Ingraham
Philippe de V ilmorin Otto Matiesen
Mme. de Plougastel Julia Svvayne Gordon
Binet James Marcus
Madame Lydia Yeamans Titus
Chevalier de Chabrillane William Humphrey
M. Benoit J. Edwin Brown
Mme. Benoit Carrie Clarke Warde
Le Chapelier Bowditch Turner
George Jacques Danton George Seigman
Polichinelle John George
Rhodomont Joe Murphy
Innkeeper •. Snitz Edwards
but he drew away in disdain, and plunged out of the
door and down the hill. At the inn he hired a horse and
set out at a gallop for Rennes, just as the wondering
Aline was picking her handkerchief from the stone floor.
Rennes was roaring with revolt. It was a market
town, but no mean metropolis in its way. and its citizens
were all a-smart with the indignities the Nobility had
heaped upon poor France. The King's proclamation, it
was rumored, had been made null by the Xobles ; the peo-
ple's rights had been swept away. So students and towns-
folk swirled about a great statue like a surf-torn sea.
and on the statue stood a lean young man, calling on his
countrymen to arm.
But this was not business to Andre. He swept thru to
the Palais de Justice, and
at last was accorded audi-
ence by the King's Lieuten-
ant, who was tasting some
rare old Tokay by way of a
weighty day's work. He
was blustering and blowsy,
his face was a mess of
marks and sears, his nose
was a stalk concluding in
a bulb, but he was, withal,
a man of soft sentiments,
and as Andre spoke with
passion of the past day's
doings at Gavrillac, he
wept. Tears coursed down
his countenance. He felt
bitterly for his fellow men.
he was near total inunda-
tion in salt water, when he
remembered to ask, ''Who
is this villain?"
( Thirty)
d
CLASSIC
\ndrc LOUIS told him in .1 ringing roar. I lie I ieu
tenant of tin- King ceased crying. Hi- turned .i rare and
ruddy purple instead, lit- eyes would have flashed save
that the) wen- to,, tat and lluccid.
"You dare." In- squeaked, "you dan- accuse the Mar
quis! You dare suggest 1 should hang him! Out! Gel
out !"
But as In- rose, tin- angry Andre* could not fort
final shot. "I always heard, Monsieur, that Justice was
blind hut beautiful. Today I have round thai she is in
truth blind, but as tor beauty , will Monsieur hut
look to the left ?"
Monsieur looked. 'There stood a mirror, and he beheld
the bulbous nose, the rolls of tat. the mighty paunch, and
behind it all. the Kir ^i Andre-Louis Moreau,
"Arrest that man!" he howled. But it was too late.
\ndre was gone, leaving nothing behind hut the wrecked
nervous system of the King's Lieutenant.
A diversion in the crowd drew his attention. ( )n the
outskirts a soldier leveled his musket, and as the smoke
blew on the light hreeze, the student on the statue toppled,
clutched at empty air. and fell to the stones, dead.
A hundred set on the soldier. He was beaten, bat-
tered, nearly killed. Andre leaped to the statue. At last
it was his. the opportunity to carry on the work of his
first and finest friend. Philippe de Yilmorin. His voice
ran out across that roaring market place.
"Citizens of Rennes. the motherland is in danger!"
Swift silence fell. The rest of that speech is garbled,
unknown, forgotten. But long after its words were lost,
its spirit went the width of that
long land of France, roared thru
rough countryside and coppice,
roared thru the sun-baked streets
oi old Marseilles, roared a song in
the ears of Rouget de Lisle, roared
down King, and camp and cour-
tiers. And all on account of a
country lawyer from Gavrillac !
A shot did not stop him. The
crowd raved, rose, rioted. Stones
flung sharp against the Palais.
The King's Lieutenant sought
himself a screen, and sent for the
dragoons. They came galloping.
a half a hundred of them, swirl-
ing dust and swinging sabres. The
square turned shambles, the mob
turned tail. And as Andre was
about to mount his horse, a thin,
ascetic - looking man pressed a
pistol in his hand.
"My name is Chapelier,'" he said
simply. "I like your courage !"
Life was duller at the Chateau.
But it was full none the less, for
this night the mighty Marquis
came to press his suit, and that
astute chaperon. Monsieur de Ker-
cadiou, slept noisily, with a fine
blowing out of his lips, as his-
niece played on a polished harpsi-
chord for the finer pleasure of
Monsieur the Marquis.
He had just asked her for
"Papillons," the newest piece from
Paris, when she chanced to
From within came the tinkle and
clang of crossed rapiers, the thud
of feet, a mutter of voices, then
dead silence. The iron door opened
and out of it staggered the Marquis
glance thru the great door I here fumbling at a window
fastening was \ndre\ a pistol m his hand 1 1 «- r
worked fast, jn a moment she had mad.- hei i
"Papillons," was in her room ihe would go for it
and she swirled out, SWUng to the he.o.'. n\r
behind her. and nut Andie on thl ild h.v.i
pushed her away, hut she clung to him, and in a mon
they were in ca< h other's .urn
Then came the dragoons, drumming up the long dri
In a second, she SWUTlg him thru a dour, slammed
with her hack to it as the horsemen broke into the hall.
The sergeant was desolated hut he must search tin- ho
And he did while Monsieur the Marquis and Made
moiselle looked on. Last of all they swung open the little
door, and lo. beyond it was an open window. Too late
had the law gotten the measure of Monsieur Moreau.
It was early in the morning when that gentleman awoke
atop a haystack, with rough voices battering in his ear-
lie peered over carefully and behold a young girl, and
what appeared to be her lover, trembling in fear, a- a
mountain of a man clambered over a hedge, and started
for them with a cudgel like a club. The lovers cow
together, the angry father advanced, and Andre-Louis
calmly slid down the haystack and landed on that gentle-
man's neck.
"< Hi.'' cried the girl in dismay, "how you've gone and
spoiled it all !"
Too late Andre realized that he had disturbed a re-
hearsal of a band of traveling actors. Their carts were
about, their breakfast was smoking hot. And the gentle-
( Thirty-one J
mmmm
man upon whose neck Andre had alighted was hot too,
with rage. But as he raised his voice in denunciation he
also raised his eyes, and beheld, trooping into the meadow,
a company of dragoons. That they were about all to be
arrested for trespass was his thought, but Andre's wits
were working overtime. He ran forward and stood at
the sergeant's stirrup. Well out of earshot of the stroll-
ing players, he confessed that the large gentleman was his
father, that he was a member of the company, and that
(here a broad piece of silver changed hands) possibly the
sergeant might care to drink someone's health so early in
the morning. The silver piece proved satisfactory, but
the sergeant had a last word as he rode away.
"There is a reward out," he called, "for a villainous
vagabond named Moreau. Look sharp for him !"
Andre turned back triumphant, and once again his wits
worked hastily as the big man said, "You have the thanks
of Challefeu Binet. How can we repay you?''
Like a flash Andre answered, "Make me a member of
vour company !" Binet rolled his eyes and met those of
Climene, his daughter on stage and off. She winked.
And so Andre-Louis became Scaramouche, the jester.
It would be tiresome to tell of his exploits in the prov-
inces, of how he practically wrote Binet's plays and ran
the company, of how with their new Scaramouche, their
success became greater and greater, and finally led them
to the gates of Paris, and the famous Theatre Freydau
itself.
And there,
who should be
visiting her
patron, Ma-
dame de Plou-
gastel, but
Aline ? So it
was not re-
ma rkable in
the least that
when the cur-
t a i n Went
down on the
last scene,
leaving Scara-
mouche and
Climene on the
stage, Andre
saw Aline in a
stage box with
the Marquis
d e la Tour
d'Azyr, and
Aline gasped
as he un-
masked. For
once the Mar-
quis saw noth-
ing ; he was all
eyes for the
fair Climene.
But she, for
her part, had
eyes alone for
A ndre, and
that night, terribly piqued by the appearance of Aline
with the Marquis, he asked her to marry him. She con-
sented gladly, and her father glumly agreed, and then got
drunk on a bottle of his son-in-law's Burgundy.
The next day saw many things. Aline came to Andre
in the inn where he lodged, and in a burst of rage, he de-
manded how she could marry such a man as the Marquis.
She said mockingly, "He will make me a great lady."
And for once Andre dropped his cynical, sardonic
mask, and said, "God made you that, Aline!"
Madame Plougastel gasped to the Marquis, "He
CLASSIC
Xot so easily was peace to be made. Argument waxed
fierce and strong, and at last, upon Aline's speaking
slightingly of Climene, Andre told her of their engage-
ment. With an exclamation of disgust, she swept out.
But worse yet was to happen. That night Climene could
not be found ; she had driven away, it seemed, with the
Marquis de la Tour d'Azyr. Midnight came, and morn-
ing, and still Andre waited for her to return. ' With
dawn she appeared, shamefaced, but with a glittering
jewel on her hand.
Andre's tone was more sardonic than ever : "Would it
be impertinent, mademoiselle, to ask what price you paid
for that stone?"
Angrily she replied, raging like a little gutter rat.
angrily her father seconded her, and that was the end of
Scaramouche as a suitor. But fortune favored him.
Aline, driving in one coach, had seen the Marquis and
Climene in another, and when La Tour, ventured to call,
she promptly showed him the door. Whereupon he
sought Madame de Plougastel and whispered of an old
scandal to be unearthed unless she smoothed matters out.
That night Scaramouche appeared for the last time on
any stage. Sitting curtained in one box was Aline : in an-
other the Marquis. And upon this night, Andre stepped
forward to reap his revenge. At his first speech he tore
off his mask, and burst into a revolutionary oration. All
the old fire of Rennes still held good, the pit applauded,
the nobles
hissed. Chairs
began to fly,
the great chan-
delier snapped
off. Andre
shouted,
"There he
skulks behind
the curtains.
Show your-
self, Monsieur
d e la Tour
d'Azyr!"
Now the
Marquis was
no coward.
His naked
sword swept
the rabble be-
fore him, and
when a burly
ruffian burst in
Aline's box, he
w a s there to
save her. And
so the last
thing Scara-
mouche saw as
he fled the
theater was
Aline in the
Marquis arms.
It made him
more bitter
than ever.
Paris seethed and smoldered. Sporadic flowers of
revolt flowered and fell : Jean-Paul Marat was writing
revolutionary tracts in an attic ; Robespierre was boring
his hearers to tears ; burly Danton was roaring and rag-
ing at the aristocrats in the National Assembly. And the
aristocrats of the Assembly were indulging in a merry
little sport that went something like this. A deputy of
the lower classes would make a furious speech ; forth-
with an aristocrat would challenge him to a duel, and as
( Continued on page 80)
he is your son!"
(Thirty-twoj
'1
%
THE "GOLD GIRL" OF "THE FOLLIES"
Catherine Stoneburn poses for Richard Southall Grant
rty-three)
■w
*f
4|
^^c
y^-.
Right is the
left wing
entrance from
the driveway.
Below is Mr.
De Mille's pri-
vate study with
a pronounced
Gothic influ-
ence
Below is one
of the several
dressing-
rooms with its
desk and hand-
some day-bed
and Windsor
chair all done
in antique ma-
hogany
This is per-
haps the state-
liest and most
beautiful home
in Hollywood.
It is fitting
that the labors
of Cecil B. De
Mille should
find surcease
here. The
home is char-
acterized thru-
out by a rich
simplicity and
an almost
monastic
severity
The mantle
above is Ital-
ian in design.
The walls are
a light brown,
the woodwork
a deeper tone,
and the up-
holstered fur-
niture a dull
red, making a
rare and au-
tumnal har-
mony of this
room
Left is the
drawing-room
done in a soft
French blue
and dull grey.
The walls are
paneled in
gold. The
woodwork is
cream and the
furniture
mahogany, the
rugs Oriental
(Thirty-four)
.
Left is the
long grey hall
that connects
the right and
the left wings.
Right is Mr.
DeMille's desk
in his Gothic
study, over
which he and
his right-hand
man, Jeanie
Macpherson,
decide on the
famous De
Mille produc-
tions
Hollywood Homes
No. XIV
Exclusive Views of the Palatial Home of Cecil B. DeMille
All photographs by Donald Biddle Keyes
This is a rear
view and part of
the grounds
This is our idea
of a noble back-
yard!
(Thirty-five)
Homer Croy writing his opinion of the boy who is to star in his story; and
"when Homer smote 'is bloomin' lyre ..." it sang Glenn Hunter's praise
Glenn Hunter— On and Off
By HOMER CROY
(Author of "West of the Water Tower")
THE other day I was in Long Island City, in the
Paramount picture plant, and saw Glenn Hunter,
all covered with grease paint and enthusiasm, playing
the leading part in the filming of my novel, "West of
the Water Tower." I watched him awhile and the only
difference between us was that he had more grease paint.
The first time I saw Glenn Hunter was a few years
ago, back stage, at one of the New York theaters. The
play was "Clarence." I went to see him in his little
cramped dressing-room which he had to share with an-
other. The room was just about big enough to fill a
fountain pen in. Glenn, on this particular occasion, was
in his B.V.D.'s and was going thru the process of dress-
ing for his part. He had a happy and rapt expression
on his face. At last, a job. It had not always been thus
with him. No, indeed ! A few years before he had come
to New York from a small town to set the city on fire.
But the city was asbestos. The fire department knew
nothing about the danger that hovered over the city. The
firemen smoked and played checkers just the same. There
was no conflagration. In fact, things got so bad for
Glenn that he had to patronize the park benches. Here
for several nights he lay down to sleep with the calm
heavens above and a somewhat disturbed policeman be-
ginning to prowl nearer and nearer.
As he talked he rubbed on the grease paint, climbed into
his trousers, made himself ready. He was happy — he had
a iob — the world was a rosy place.
Time passed. When next I saw him, he was in hi*
dressing-room at "Merton of the Movies," the highh
successful play in New York in which he is the star
What a change had come over him. Money in his pocket!
Why, he had money in the bank. I know, because while
I was there three persons came in to collect. Glenn \va-
seated in front of his mirror smearing on grease paitr
when the doorman popped in his head — a tailor had com*
for money. Glenn got out his check-book. Glenn starter
in again on the grease paint ; again the doorman poppec
in his head — another check. Glenn now began to worl
on his eyebrows. Another knock . . . another check-
He was being disturbed oftener than he had been by tli<
policeman in the park.
Other people came to see him. Mr. Murray, his secre
tary, met them at the door. I could hear soft diplomatic
words being spoken . . . then footsteps sounded dowi
the cement court. A dozen people in all came to have ;
word with him. The time before, when I had seen hin
in his dressing-room, the only person who knew that hi
was there was the call-boy. Glenn talked to his secretary
They spoke of a car, of a chauffeur. When would Mi
Hunter order his car? — a few short years ago all he coul<
have ordered was the motorman to stop.
And also in his room on this occasion was his "dresser.
He was an able-bodied man and all he had to do was ti
hold Glenn's pants while Glenn climbed into them. Y\ ha
{Continued on page 76 )
(Thirty-si.\
Below is Rollin
Sturgeon, who
will direct this
interesting story.
Right is a roman-
tic moment with
Glenn Hunter as
Guy Plummer and
May McAvoy as
Beatrice Chew
Below is Glenn
Hunter, about the
most successful
young man of his
generation. In
this picture he
is courageously
competing with
"picture stealers"
like Ernest Tor-
rence and George
Fawcett
THE DIRECTOR
THE HERO AND THE HEROINE
Below is* part of the staff that is
necessary to the making of a picture.
They are: W. J. Scully, assistant di-
rector; Harry Harris, cameraman,
Bill Johnson, props; W. C. Smith,
assistant cameraman; Anna Mc-
Knight, script clerk. Rollin Sturgeon
is in the center, May McAvoy in the
foreground and Glenn Hunter left
THE STAFF
THE STAR
(Thirty-seven)
Photograph by Moffatt, Chicago
THE INESCAPABLE RUSSIANS
Mile. Elisins is one of the solo dancers of the really remarkable Pavley-Oukrainsky
Ballet Russe, which augments and ornaments the San Carlo Opera Company
(Thirty-eight)
Fathers are, from
all apparent indi-
cations, an ex-
tinct species like
the Dodo. No one
ever speaks of
them or ever
hears of them.
Only mothers
have their day.
One reads vol-
umes about
"movie mammas"
but never a line
about papas. We
have dragged a
few of them into
view, more o r
less famous
Left: In lieu of
walking the floor
o' nights, this is
what Pat O'Mal-
ley does for his
infant daughter,
Patricia. We call
your attention to
the utterly ab-
sorbed admiration
registered
on young Miss
O'Malley's coun-
tenance. Below:
Tom Mix and
little Thomasina,
the rose of the
rancho
Above: An-
other mutual
admiration so-
ciety. Gloria
Swanson and
Joseph T.
Swanson, Inc.
Gloria's father
is a Captain in
the United
States Army.
Wonder if he
tries to disci-
pline her?
Fathers
and
Daughters
- ▼( If
<
Lef t : This
little girl is
named Doro-
thy Sills and
her father is
named Milton.
But it should
be "Mike and
Ike . . they
look alike!"
(Thirty-nine )
A Lover of Life
EULALIE JENSEN suggests
all the infinite resources of
woman! As I watched her,
vivid, spirited, with a smile on
her lips and a hint of tragedy in
her eyes, she typified her sex —
there seemed nothing she could
not comprehend.
Miss Jensen intrigued my inter-
est more than anyone I have met
for many moons, yet I do not be-
lieve you could ever feel that you
really knew her ; there would al-
ways be depths she would not re-
veal.
Not that this would be inten-
tional. She loves friends and in-
sists that they bring the greatest
beauty and fragrance to life, that
they mean more to her than any
thing else ; and she still has
faith in this frail thing,
friendship !
Perhaps it is just this abil-
ity to retain her illusions that
sets her a little apart
I mentioned the subject of
many roles. She laughed,
"That is where I have made
a mistake," she said. "There
is no place for a feminine Lou
Chaney — and if I had it all to do
over again 1 would always be
Eulalie Jensen at her best, wear
pretty clothes and win fame. As
it is, I have lost my identity in a
number of character roles. I
have no personality the fans can
recall. Sometimes I am blonde,
sometimes brunette, sometimes
voting and the heroine, sometimes
\
\
By
MAUDE CHEATHAM
Eulalie Jensen comes from a colorful line. There
are fascinating strains of French, Spanish and
Italian in her blood, and romance and adventure
ran riot among her ancestors. They have left
their trace on her
Photograph (left) by Freulich
Photograph fbelow) by William A. F raker
.—-*<«■ i • i m ■
(Forty)
^d
i-| \sM.
the mother, or the vamp
yi ui sec li.iu it is
and she -> p r t- a*l hei
hands in mock despaii
"< m' course, there's the
tlirill I gel "in of these
different poop'1' ' pl*J
I would hate to give thai
up even for a big salarj
and an electric sign.
"( )ne of the first films
I made after coming
back t<> pictures from a
long absence \\ as ' 1 he
Passion Flower,' with
Norma Talmadge. I
played Raimunda, the
mother, and that sent
me mothering thru sc\
eral films."
Miss Jensen has jusl
completed two highly
colorful roles: that of
Madame Gaudin, in
George D. Baker's "The
Magic Skin," a sweet
and gentle street singer,
mother of Bessie Love;
and Marie, a Gypsy
(1 a n c e r in Wallace
Worsley's "The Hunch-
hack of Xotre Dame."
where she is companion
of the heroine. Patsy
Ruth Miller.
"I haven't danced for
a long, long time," Miss
Jensen said, "and I en-
joyed it. I felt the old
intoxication. We were
six months making 'The
[hmchhack,* and it was
a delightful experience
and a very wonderful
company. Three fourths
o\ the scenes were made
at night and during the
coldest weather, yet we
always found a joke
rather than a kick and I
believe we formed
friendships that will en-
dure."
Miss Jensen is a real
motion-picture pioneer.
She was playing in stage
productions of Henry
Dixon when her curios-
ity led her to defy the
rule set down by pro-
ducers that no stage player could remain in the cast after
acting in pictures, and went to the Cameraphone Com-
pany. They were experimenting with a method of syn-
chronizing voice and movement, and she acted and sang
thru "The Lakes of Killarney," disguised as Helen
Johnson.
"They paid us ten dollars a minute, imagine it I" laughed
Eulalie. "and days I worked 1 would make several hun- .
dred dollars. I would give anything for one, of those
early stills, they must have been marvelous."
Several high lights marked Miss Jensen's first efforts
toward a dramatic career. She was an orphan at six-
teen, a high-strung, spirited girl, full of confidence
Eulalie Jensen as Marie,
Her last role
Photograph by Freulich
a Gypsy dancer in "The Hunchback of Notre Dame."
is Madame Gaudin in "Slaves of Desire"
and imbued with the ambition to become a great star.
Her first opportunity came when Sarah Bernhardt'*
company, en route to her native city. St. Louis, advertised
for extras. She recalls, humorously, how she stood in
line waiting for hours and nearly died of joy when she
was among the seven selected. For a week they were
drilled in the simple matter of walking across the stage.
On the opening night at the Olympic Theater, Eulalie,
fearfully made-up and trembling in anticipation of her
coming triumph, saw the great actress chatting in the
wings with friends and crept close to behold her idol.
Receiving her cue. Bernhardt turned suddenly to find this
(Continued on page 77
(Forty-one)
Photograph by Rabinovitch
RABINDRANATH TAGORE
A sympathetic and beautiful portrait study of the great oracle of India. Poet, novelist,
teacher, prophet and pacifist, this mystic Hindoo has solved the cosmic scheme of
things to the satisfaction of millions of followers
(Forty-two)
A
Photograph l>y Apeda
The Photographer Takes the Stage
Photograph by
Pach Brothers
Photograph hy
Maurice Goldberg
«*
Across the top of
the page is the
opening number
of the third an-
nual "Music Box
Revue." Left is
Irene Bordoni in
the title-role of
"Little Miss Blue-
beard," in which
she sings her own
type of songs as
only she can sing
them. Right is
Adele Klaer in
"Artists And
Models," the re-
vue staged by our
prominent illus-
trators. Quite the
most daring show
in New York
Forty-three i
Classic's
Monthly Department
of the Theater
Photograph \
by Apeda
Above is Emily Stevens in "A
Lesson In Love," in which she co-
stars with William Faversham.
Right is a scene from one of odd-
est and most interesting plays
of the season, "Children of the
Moon." The people are Paul Gor-
don, Florence Johns, who scores,
and Grant Stewart
I 'hotogtap
Left is a scene
from another in-
teresting psycho-
logical drama,
"Chains." Left to
right: Maude
Turner Gordon,
William Morris,
Paul Kelley, Hel-
en Gahagan and
Gilbert Emory
(Forty-four)
Scenes From
the Late
Fall Openings
Right is the Tunis
scene from "Lulla-
by," Florence Reed's
newest play. The
action takes place
over a period of
seventy-five unsavo-
ry years in the life
of a femme de joie.
Above, in pleasant
contrast, is a scene
from "Tweedles,"
with Ruth Gordon
and Gregory Kelley.
Gre-gory is the
Tweedle
(Forty-five)
Photograph hy Tornello, N. V,
Above is a scene from that popular key-note, "We've Got To
Have Money!" The little wanters in the picture are (left to
right) Louise Segal, Milton Nobles, Jr., Marie Louise Walker,
Jerome Cowan and Robert Ames. Below is a bit from "The
Nifties of 1923." an unpretentious revue "glorifying the American
sense of humor." Sam Bernard is telling Ray Dooley not to
listen to Willie Collier. He's a !
Photograph hy
White Studios-
Above is Daphne
Pollard (wonder if
she is any relation
to Snub?), who in-
troduces English
comics in the new
"Greenwich Village
Follies," our only
"highbrow" revue.
Her "Quota Song"
is uproariously funny
(Forty-six)
The Celluloid Critic
Laurence Reid Reviews the Latest Picture Plavs
T
HE parade of big pictures across the New York
screen goes on apace. It begins to look like a cellu-
loid landslide and the season has hardly begun.
Marion Da vies and George Arliss have had their innings
with "Little Old New York" and "The Green Goddess"
respectively, and now comes Mary Pickford
in "Rosita." Lillian Gish in "The White
Sister." and Lon Chaney in "The Hunch-
back of Notre Dame." And as we record
these achievements "Scaramouche" and "A
Woman of Paris" have gained admittance
to the select circle.
In looking over "Rosita" (United Art-
ists) we claim it is entitled to first honors
because of its skilful treatment, its color
and background, its dash and adventure,
and the fact that it is seasoned with all the
necessary elements for success.
This adaptation of "Don Caesar de
Bazan" thrusts Man,- Pickford into a ro-
mance of old Seville — a radical departure
for her. Her transition from shy girlhood
to womanhood is accomplished deftly with
a surety of touch and poise. Lubitsch, the German
charge d'affaires, has made the pattern so technically per-
fect that Mary, gifted actress that she is, never carries
the entire burden of the story. She becomes a composite
part of the dramatic scheme instead of earning the tale
by herself. Which of course gives the picture balance
(Forty-seven)
The Best Play
of
The Month
Is
"ROSITA"
With
Mary Pickford
and color. It is peopled with so many figures and detail
that one has time to catch the star in a new light. And
she shines radiantly in scenes of exquisite charm and also
in scenes which call for a flash of sophisticated comedy
and emotional display. A different Mary, surely.
If you think that Lubitsch has explored
new channels you will be disappointed. He
doesn't depart from the regulation Amer-
ican methods, but he does incorporate a
( ierman thoroness to the execution of his
scenes which gives them more breadth of
outline. He doesn't get out of sympathy
with the author's design. A stickler for
detail and color, he handles crowds in a way
that eliminates the usual orthodox arrange-
ment. He makes "Rosita" a dashing tale
of a little capricious dancer who sways the
carnival crowds with her banjo and "a few
songs against her king. If Lubitsch is suc-
cessful with Mary Pickford he is equally
successful with all his players. He seem-
ingly understands their capabilities. He has
made Holbrook Blinn act the picturesque
monarch after the manner of Emil Jannings — with a sug-
gestion of blunt humor.
A slender plot this picture carries, but its slenderness
and simplicity furnish its appeal — an appeal which would
be lost if it were woven with threads of intricate drama.
We put it down as an artistic and colorful production.
CLASSIC
The same story has been picturized for Pola Negri
and is called "The Spanish Dancer." We are curious to
see how the Polish actress' version compares with Mary
Pickford's. Pola must come thru this time or suffer
oblivion.
defined you will like the picture. It has Hugo's atmos-
phere and settings and the handling of the crowds is
highly interesting.
T
Hunchback
has
HE
is
some,
carried out this
of Notre Dame" (Universal)
made so by Lon Chaney's fear-
frightful portrayal of the title-role. He
design without the least semblance
T;
unforgetable
of restraint
— and his
ape-like bell-
ringer of the
famed cathe-
dral will be
cataloged as
the most
hideous
sketch ever
shown on
screen and
stage.
Universal
sets forth in
the program :
"We find it
necessary to
eliminate a
great deal of
gore." Yet
here is
C h a n ey in
his uncanny study to counter-
act that statement. It seems
to be a picture of all the tor-
tures which can be inflicted
upon a human being. It out-
Hugos Hugo in this respect.
These gruesome details could
have been softened a bit and
the vigor of
the story
would have
remained
just the
same.
Technically
it is finely ex-
ecuted. Its
views of the
cathedral are
impressive
and carry the
suggestion of
solidity and
massiveness.
Also the
streets of
Paris of yes-
teryear are
well de-
signed, t h o
they should have
realism. A
"Potash and Perlmutter'
Mary Astor
in "Spring
Magic"
HERE is a lyric quality to Lillian Gish's acting in
"The White Sister" ( Inspiration) which has never
been recognized before. In that respect Henry King
who directed this tragic story of broken romance has
brought forth a talent which Griffith neglected in order
to create an emotional outburst, of pent-up floods of pas-
s i o n s and
fear. As the
frail, tender
m i sguided
child of fate,
Miss Gish
makes poig-
nant appeal.
It is heart-
rending to
see this tor-
mented soul
taking her
sepa ration
from her
lover with
such courage
and when
learning of
his death,
turning her
back on the
world and
and sanctuarv
"The White Sister"
Gloria
Swanson in
"Zaza"
Bert Lytell
and Blanche
Sweet in
"The Mean-
est Man in
the World"
good
been
deal
"dirtied" up
of the story
a bit to
has been
bring more
buried be-
neath solid masonry — so much so that the romantic part
is lightly considered.
To us the most picturesque personage is Clopin, the
king of the beggars, played in a commanding manner by
Ernest Torrence. This actor is in the best scene which
shows him leading the half-starved mob against the
cathedral.
If you dont mind a grotesque figure too sharply
finding peace
in the Church.
There is a splendid clash of
emotions when the girl takes
the veil — an unforgetable
scene — and daring in its ex-
ecution. Then when the lover
returns to find his sweetheart
a nun the
story releases
a deeper
poignant
note. Here is
Lillian Gish
of wistful
charm and
poise, suffer-
ing the an-
guish which
comes from
conflict in
her heart.
There are
some irrele-
vant touches
and the cli-
max is too
orthodox to
ring genuine.
We have the
play of elements from all sides — nature releasing its un-
bounded fury, and the human puppets are swept aside
like so many toy figures. The finish is regulation movie
stuff. But the picture earns respect because of its spiri-
tual quality — its poignant touches — its sweep of passion.
It strikes deep with its conflict of distressed souls and
one emerges from the theater with a feeling of exhaus-
tion— the tensity of scene when the girl takes the veil
and when her soldier-lover returns to claim her, holding
one in a tight embrace. A newcomer is Ronald Colman
( Forty-eight I
CLASSIC
who plays the broken hearted lovei and he gives a pei
[ormance of quiet force end dignity. He nevei seems
to be acting, which makes ins expression all the more
natural and genuine.
NO sooner is fames Cruze finished with one sue
cess, than he fares forth with another. "The ( "\
ered Wagon" was followed b) "Hollywood," and
tin- rollicking romantic comedj gives way t.> "Ruggles of
Red Cap" (Paramount). Judging from his skill in
fashioning pictures which call
tor humor we would say that
comedy is his fortr. He treats
this new screen version I it has
been done before) with a deft-
ness of touch, pointing his in-
cident ami enriching his char-
acterisation by giving each
important figure a well-planted
reason for being present. He
makes the crude Cousin Eg-
bert, the meek Ruggles. Effie
and the Honorable George — .
jolly figures all — stand out like
cameos. Rut he was fortunate
in having
players who
could color
these char-
acters so
well.
You'll re-
member that
Cousin Eg-
bert, the cow-
puncher of
Red Gap ,
embarrassed
his wife with
his bad man-
ners after
they had be-
come society
leaders. So
she lugs him
over to Paris
to polish him
up and employs a nobleman s
valet to teach him deportment.
The antics of these figures
so admirably limned by Er-
nest Torrence, as Egbert, and
Edward Horton, as Ruggles.
makes this picture a comedy
gem. Torrence's facial ex-
pressions— his manner of
making little details important
— stamps him as a superior
actor. Horton is an ideal
valet — a meek, humble ser-
vant to the life. A spirited
picture thoroly enjoyable.
HAROLD LLOYD'S latest essay. 'Why Worry T
(Pathe), carries the bespectacled comedian back
to the style of comedy which introduced him as a
star. It is a rollicking farce, filled with absurdly funny-
hits of business — "gags" you might call them. A radical
departure, we might add. from "Dr. Jack" and "Grand-
ma's Boy." But he has the faculty of making anything
he touches genuinely novel.
This is the tale — an old one, incidentally, of a hypo-
chondriac who journeys to a South American republic to
WU1 hark In- health, hut l.loyl dl with new il
and brightens it with the most uproarious!) funny ind
dent that has been Hashed m a year. He steps right into
a wild revolution, not knowing what it's all about He
sees these foreigners bowing right and lefl as if to wel
come him. So In- boWS in return with I reinom
when a native is shot thru the stomach and doubll
in jack-knife fashion. lust a return of the compliment.
Such clever touches as this mark the entire pictWl
Highly mirthful, too is the scene when the (..median and
his faithful army of two
a huge giant, the other, the girl
— defend themselves on the
battlement againsl the ap
proaching bandits An extra. .1
dinan comedy this— on*
ceptionally original in its
"gags" and incident. Th<
no Stopping this Lloyd per
He turns them out good ever)
time. Our advice for the pa-
trons is a paraphrase on the tin
warning — "Walk, do not Run
to the Nearest Entrance. I )•
not Try and Beat your Neigh-
bor to his
Seat."
Above: Ernest
Torrence in
"Ruggles of Red
Gap." Left:
Corinne Griffith
in "Six Days."
Right: Harold
Lloyd in "Why
Worry?" Below:
Patsy Ruth
Miller in "The
Hunchback of
Notre Dame"
CA<
RRV-
1 X G
on its
abundant
humor and
satire that
marked th'e
stage play.
"Potash and
Perlmutter"
(First Na-
tional), comes
close to being
the brightest
sober com-
edy-drama of
the season.
Superlatives
have been
paid this picture during pro-
duction and we might add
that it merits them. It is a
richly humorous story of a
cross-section of life, showing
as it does a zestful spirit of
Jewish initiative in conduct-
ing a cloak and suit business
The sparkle of the original is
retained — the same sparkle
which Montague Glass incor-
porated into his yarn and in
the play which he wrote in
collaboration with Charles
Klein.
There is an enjoyable vein
of friendly antagonism which releases a quota of laughs
— and at the same time, it is dovetailed with tender
strokes of pathos. The unfortunate Potash has enough
business acumen to spot a live, "go-getter" when he sees
one. So he takes the aggressive Perlmutter as a partner.
Once they are associated we follow their "ups and downs"
with unabated interest.
Intimate details are sharply defined — and lend suf-
ficient color to the story. There is much satire and here
( Continued on paac
(Forty-nine)
Lament (After
the Greek)
WEEP, all ye
Muses and
true lovers of
Art. They have put
wig on Farina.
They have put Farina
in a wig. They have gilded
the lily and brought a ton
of egg to Newcastle. They
have carried cows to
Moscow.
Farina, who was perfec-
tion, who was the Darling of the
Gods, has been mutilated. Weep
for the disgrace, all ye Muses.
No more shall I gaze upon
the classic simplicity of the
countenance of Farina. My
eyes are blinded with tears of
rage ; my body shaken with sobs
of disappointment. Yes, they
have no discernment.
O mighty Roach, O bluff
Prince Hal, take off Farina's
wig and let us rejoice again !
Hear my prayer. Heed my lamentation
•b + +
The schrecklichkeit that prompted the above has eaten
into our soul and led us to compose a fantasy, or whimsy,
or fable, as it were. It is just crawling with symbolism
and is called "What Makes the Movies So Terrible."
Cinema is the questionable illegitimate offspring of Proteus, the
God of things as They are not. Her mother was Mazuma, way-
ward daughter of Mammon. When Proteus saw little Cinema for
the first time, being a crabby sort of an old goof, he cursed her.
"May you always strive for perfection," said Proteus, "and
never attain it. If by any mischance perfection shall be within
reach, may you be so blinded by your futile efforts that you will
never know how close you have come to it, but will spoil every-
thing with your next attempt."
And so far as we can make out, the curse is still holding.
4* + +
Gloria Swanson endowed Zaza with a volcanic tem-
perament, but for Slavish outlay of emotion, Pola Negri
leads all the rest.
+ + +
If, however. "The Spanish Dancer" turns out to be
at Hollywood as "Bella Donna" and "The Cheat," it
W-H-MANf-nANN
Poor Fish !
would look as if
there were going to be
a total extinction of the
Pola system.
+ + +
We are just childish enough
to wonder if
movie star?
could enjoy a
formal dinner if
the host did not
provide paper caps or toy bal-
loons to bat about. Person-
ally, we wouldn't take the
l. chance.
•f" + +
The general histrionic
ability of the profession has
put a new interpretation on
the old saw, "Be good and
you will be lonesome."
-r* 4- +
Nevertheless, and in the
face of all tradition, we are
going to come right out and
lead a cheer for Edward
Horton. "Ruggles of Red
Gap" is conceded to be a gen-
eral disappointment, yet it
does show that Mr. Horton
has all the promise of a unique
gift. He is a quiet actor. His is not the Reubens
sandwich style of technique, wherein you are offered far
more than can be digested — ham on top of Swiss cheese
surmounted by sliced tomatoes, cole-slaw and Russian
dressing. "For this relief, much thanks." Jetta Goudal
is another person who takes her talent much the same
way. And we certainly hope they will both win the
renown they deserve for their daring unconventionality.
+ "b •%•
Every so often the movie magnates explain that as yet
they have hardly scratched the surface of the Great Art.
Hardly scratched the surface, our eye ! They have
gouged, gored, mined, stabbed, punched, riddled, reamed,
ripped and all but staved it in.
■i" + •b
"I doubt," says Carl Laemmle in a foreword in_the pro-
gram of "The Hunchback of Notre Dame." "if Victor
Hugo ever heard of Hollywood." If he had, Mr.
Laemmle, it's a certified Grade A cinch that he would
never have given you the picture rights to his novel.
(Continued on page 92)
(Fifty)
Photograph by Aide
A Daughter of Tragedy
Ida Rubenstcin, the great Russian tragedienne, as she appears in D'Annunzio's
"Phaedre." The costume is by Bakst. She will be in the United States this winter
with the 1924 Folies Bergere, the well-known French revue. We trust that we may
be privileged to see it unexpurgated. . . .
(Fifty-one)
Flashes From
ALTHO it does not properly belong here, we
cannot forbear comment on Charlie Chap-
lin's picture, "A Woman of Paris." The
sophisticated, and it must be admitted conde-
scending New York critics, took off their hats
as one man to this picture. The most distin-
guished New Yorkers have written voluntary
and gracious tributes to Charlie. We say with-
out any hesitation it is the best picture we ever
saw — the most interesting and original and, men-
tally stimulating thing ever put on the screen.
The direction is superb. There is not a wasted
gesture.^ Simplicity is the key-note, humanness,
the harmony. It will doubtless start a revolu-
tion in picture-making, and it should. Charlie
has been feted and wined and dined like a prince.
He sat in a box all by himself on the opening
night, but the lobby was packed with flowers the
most conspicuous of which, bore a card that said
simply: "Mary and Doug."
Definite arrangements have been com-
pleted for the tour of the Theatre Guild
Repertory Company, carrying out their
long-cherished plans to make it possible
to present to playgoers outside of New
York noteworthy productions that here-
tofore have been confined to this city.
Basil Sydney will head the repertory
company. Three of the plays produced
by the Guild will be presented on tour.
These are: "He Who Gets Slapped," by
Leonid Andreyev; Ibsen's "Peer Gynt,"
and "The Devil's Disciple." the George
Bernard Shaw play now at the Garrick
Theater, which has been running all
summer and in which Mr. Sydney, as
Richard Dudgeon, plays the principal
role. The tour will embrace Boston,
Philadelphia, Baltimore, Washington,
Pittsburgh, Buffalo. Cleveland, Chicago
and other leading cities.
Of the Stage
Caught by
decided as yet whether she will accept the part. Her latent
vehicle "Chu Chin Chow" has opened at Albert Hall.
London.
Immediately upon her return to the
United States last week from an exten-
sive European production trip, Betty
Blythe was sought out by an American
producer for a starring role in a big film
spectacle. Miss Blythe has not quite
Elmer Clifton, director of "Down to the Sea in Ships,"
and other pictures plans to leave New York City for
Virginia in the very near future. He will film several ex-
teriors for his new picture "The Warrens of Virginia" at
At the top of the
page is Remo
Bufano with two
of the leading
players from his
own marionette
theater. Left is
Grace Divine, a
young mezzo-
soprano with the
San Carlo Opera
Company, which
has improved in
properties, pro-
duction and per-
sonnel. Below is
a Fifth Avenue
bus at Fifty-
second Street and
Fifth Avenue be-
ing shot by Sam
Wood for "His
Children's
Children"
PhfitoKr:i|ih liv Campbell Studios
(Fifty- two )
The Eastern Stars
On the Screen
tlk' Editor
tin- actual locations referred to in the play. Martha Man!
field aiid Harlan Knight are the principals.
It is now certain that Richard Bennett will star under the
Shubert management tins season in Gerald Du Maurier's
London success, "The Dancers."
Dr Daniel (.'arson Goodman starts work next week on his
At the top of the
page is another
pleasant anachro-
nism from "Yo-
landa," Marion
Davies' newest
picture. D o n t
miss the ZR-1
above the set
Right is Yvonne
Hughes, another
Brewster Contest
winner who is
making good. She
may be seen with
Gloria Swanson
in "Za*a." Below
is Vera Gordon
and her family:
mother, daughter
Nadya and son
William in their.
New York apart-
ment
raph l>> Ball
Photograph by Edward Thayer Monroe
new screen production "Week-end Husbands.''
lie is now busily engaged casting the picture
which will be made in the East. Dr. Goodman's
most recent picture has been released under tin-
title of ''The Daring Years.'
Florenz Ziegfeld announces the engagement
of Mile. Paulette Duval of Parisian music-hall
fame, for the forthcoming "Follies," Mile Du-
val arrived under an assumed name and has
passed the intervening time in New York un-
known to all the wiseacres. She speaks, sings
and dances in French. Our own Fannie Brice
will share the honors with her.
After Lillian Gish completes her work
on "Romola," her next picture for In-
spiration Picture, Inc.. she will begin
making "Joan of Arc." The play will
be pictured in France. "The White
Sister" is still playing to crowded houses
in Xew York.
"The Gift," by Julia Chandler and
Alethea Luce, will have Doris Kenyon in
its leading role. Anna Lambert Stewart
is producer.
"America" is the title selected for D.
W. Griffith's Revolutionary film, which
he is making at the suggestion of the
Daughters of the American Revolution.
This is the first instance where a film has
been requested directly by a public or-
ganization The title was selected after
a poll of six universities, six grade
schools, six clubs, and six sporting places
where slang is most prevalent, including
a prize-fighter's camp, a race-track, a
pool-room, a dance-hall and a boy's play-
ground. More than ninety per cent, of
{Continued on page 100)
(Fifty-three)
Photograph © by E. O. Hopp£, Londc
A STUDY IN SYMMETRY
Anna Pavlowa and her new dancing partner, Laurent Novikoff, in their Egyptian
number, with which they will inaugurate their American tour
(Fifty-four)
The Slave of Desire
"The Magic Skin" Rewritten in Short-Story Form by Grace I mib
The antiquarian, in great exci
Raphael Valentin, that he is
AND SO,"
said the
L p i) e i
Raphael con
eluding his
story with the
smile that had
won him al-
most a» much
lame as his
famous vi
"and so, with
in> last wish.
I w 0 n n o t
only my H fc
but my love
as well. Hap-
piness ever-
lasting."
The little
gathering in
the sumptu-
ous studio of
the feted
poet Raphael
looked at each
other in a blurred perplexity. Palpably, they did not
understand the story with which their charming host had
been regaling them, faintly, bemusedly smiling the while
he told of events as richly embroidered as an Arabian
\ight"s tale, as fabulous as legends of Ali Baba.
Some of them present were old friends of Raphael's.
They had seen him in his struggle for existence, they had
watched him go wretchedly from hopelessness to hope-
lessness. They had caught glimpses of the intricacies
of his fortunes after he had found the Magic Skin.
In these enlightened days magic skins were not to
be believed in, and these men. artists, poets, painters,
dilettantes and darlings of
society, were skeptics,
every one of them. Still,
they could not but believe
that magic skin, or mere prey
of variant fortune the
young Raphael had come
thru some amazing haps
and mishaps. They had, per-
force, to take his word for
the explanation thereof. But
now they were perplexed.
"If I follow you right-
ly." said one of the listen-
ing friends, "your friend
the antiquarian told you
when he gave you the magic-
skin that with each wish
you might wish your life
would dwindle bv so much."
teraent, tells
entitled to
the
the
young poet,
magic skin
THE SLAVE OF DESIRE
Fictionized by permission from the Goldwyn pro-
duction of the adaptation by Charles Whittaker of
the novel by Honore de Balzac, "La Peau de
Chagrin." Directed by George D. Baker. The cast:
Raphael Valentin George Walsh
Pauline Gaudin Bessie Love
Countess Fedora Carmel Myers
Rastignac Wally Van
Antiquarian Edward Connolly
Mrs. Gaudin Eulalie Jensen
Mr. Gaudin Herbert Prior
Champrose William Orlamond
Tallifer X icholas de Ruiz
The General William von Hardenburg
Emilc Harmon McGregor
The Duke George Periolat
Finot Harry Lorraine
Major Dome Calvert Carter
'• Exa
ment," smiled
Raphael.
' ' \ n d . * '
pu rsiwd the
inquiring one,
"the wish you
w i sh e,d
Bave Pauline
from t h e
ra u rderous
machinations
of F e d o r a
was the last
r e m a i n i n '^
wish left to
you. With
that last wish
your life was
at an end."
"I If a cer-
tainty," again
smiled the
wilfully enig-
ma t i c Ra-
phael.
"But . . ." said the friend, and he looked at the other
friends in the circle about the cheerfully open grate, and
spread his ringers apart in a gesture of giving the situa-
tion and the problem up once and for all.
Raphael was quoting, " 'He who loses his life shall
gain it,'" he was .saving; "that was my last wish. With
the making of that wish I was to pass into the Great
Beyond. And yet you see me here tonight, in splendid
health, in excellent spirits, in the full possession of my
negligible but happily recognized talent and in the proud-
est possession of all. that of Pauline, my beloved wife."
"You speak in paradoxes." said one of the school of
Futuristic painting.
"Ah, said Raphael, "I
have tried your several
patiences long enough. You
have dined at my table,
sipped of my wine, looked
upon the incomparable love-
liness of my Pauline. Now
you shall hear my story.
The story of the magic
skin, as it really happened,
coherently, and not as you
have had it by word of
mouth from this friend or
that foe.
"You remember when
father, the Marquis
and
was
left penniless but with a pot
my
died. YeS. hh bicti
you remember how
(Fifty-five)
of gold at the rainbow end of my heated imagination.
"You recall how I took an attic near Montmartre as
many a better poet has done before me. and how I literally
drank the midnight oil composing sonnets to a Lesbia that
never lived.
"But did you know that I knew Pauline in those days?
Vraimcnt. Pauline was the daughter of Madame and
Monsieur Gaudin in whose attic I finally took up my abode
when the life of the Quarter, unexacting as it was, be-
came too much for even my ambitious strivings.
"Madame Gaudin alone did not storm in upon me when
the week's
rent was due
. . . and was
not forthcom-
ing, as it was,
h e I a s , so
m any times
not.
And
If
Paul-
you
me !
had not seen
her here to-
night, still the
m i nistering
angel, still
mild and
magnificent,
beautiful and
ben ef icent.
then I should
be called upon
to explain her
to you in
dithyramb
and madrigal.
in canzonet
and monody,
in strophe
and antistro-
phe. There-
fore. I may
leave Pauline
to speak for
herself. For
none can do
it better.
"Ah. back
in those days,
how kind she
was to me !
She brought me food, secretly and sweetly, so that none,
not even I might see her and be ashamed. She kept my
poor, bare room spotless and with her own hands and
even placed flowers here and there that it might not be so
bare a shrine of poverty. Words cannot tell you the
thousand and one ways in which Pauline sought to make
my thorny path a flowery one. And I. I never saw it! I
seem to recall that I did not even see her. altho, now in
the late light of my great love, I cannot believe that the
eyes I am pleased to call a poet's, that the heart I am
charmed to believe is sensitive and lyric-strung, could
have been so blind.
"You see, I was enamored of Fedora.
"To go into that would be to go into the cheap and
claptrap folly of many another misguided young man,
no better than he might be.
"I had lived long within my secret soul. I had. I had
really fasted on Parnassus. I had thrown off the warm,
hot touch of hands and the absorption of lips.
"Thus it was when I met Rastignac and the gay, dear
soulless idler took me to the Salon of the Countess Fedora,
in the benevolent hope that she might advance my prestige
The poor penniless poet gives up
everything
CLASSIC
as a poet, I cared nothing for the advancement and every-
thing for the hope of an amour.
"Fedora! Gay and gaudy, fated and frivolous! But
she was a glittering snare and a delirious delusion to me.
The scent of her hair, the shimmer of her arms, the scorn-
ful red trap of her mouth, these things remained with
me by day and made painful my slumbers at night.
"She cared nothing for me other than to exploit me.
Which she did, in her fitful fashion. She herself read
my poems aloud at one of her soirees and it might have
done me some little good had I not been more enthralled
with the tex-
ture of her
mouth than I
was with the
technique of
my own
verses.
' ' I made
the mistake
of so express-
ing myself. A
mistake be-
cause the
most influen-
tial man there
that night in
my direction
was also
enamored of
Fedora, and
was not dis-
posed to look-
kindly upon a
young man
likewise
affected.
"Fedora
played with
me. As such
women have
played with
such young
men since the
mad world
first went
mad.
"She made
appointments
with me only
to break them
if it pleased her caprices. She took her hot red roses I
starved to buy for her only to watch me bleed upon the
thorns. Ah. it was a cruel time !
"And as I grew poorer and poorer, more and more
bereft of hope, less and less desirous of prolonging a
life made up only of hungers, of one sort or another,
Pauline grew more silently solicitous, Fedora more openly
derisive.
"The day came when I walked toward the Seine, with
that look in my eyes and that stride to my tired feet, that
have so many times before wooed the Seine in the same
manner.
"I was about to throw myself over when . a poor
wretch of the streets deterred me.
"Her hand, all emaciated and blunted, held fast to my
sleeve.
"The ruined beauty of her face, ruined so long ago,
God knows, besought me. ;
" 'No woman is worth dying for,' she said, and I
paused, arrested that she should have guessed my guilty,
secret motive. I looked at her again. She was a woman,
too. Doubtless, from the broken contours of her face,
(Fifty-six)
in despair, and his creditors take
that he has
CI ASSli •
the tired weight of her faded hair, doubtless she, too,
had been once as beautiful and brilliant as Fedora. God.
that a man should have given up his life for that . . . !
"I shrugged her hand away, not unkindly, but signifi-
cantly, and she knew that I had understood her message
to me. and I knew that she knew. She smiled. It was a
pitiful enough smile. And she drifted off into the flotsam
of the streets, a Magdalene who had paused for a moment
to dash some precious ointment at my feet. . . .
"Well, and then I happened to go into the anti-
quarian's.
"I had one thing left. One thing of value that had not
gone to buy the hot
red roses for
Fedora. It was a
scarab belonging to
my father.
"I was desultory
enough when I
went into the odd-
appearing shop. 1
had scant hope of
more return than
enough to buy a
supper, a dash of
absinthe, perhaps
. . . Judge, then.
0 f my surprise
when the old man
turned several
shades of green
and yellow, began
muttering in the
Above: A bit of the
riotous good time
Raphael asked for
as the first wish
granted by the
magic skin
most mystic and agitated terms and finally begged my
leave for him to' take it into his Master.'
"Shortly thereafter the Master himself emerged, slowly.
and with effort, from an inner chamber. He made obscure
signs to me. which I took to mean to follow him, and not
caring much whether 1 was being lured into a den of
thieves and cutthroats or merely in the private asylum
of some addled brain, 1 walked after the old man.
"Oh, my friends, there was a great deal of talk, back
in that illy lit. evilly smelling, unearthly chamber. Mystic
talk of ancient things and lost keys and rites long buried
in antiquity. But the gist of the whole was that the
scarab I possessed
was 'the key' to the
Magic Skin. This
splotched and un-
lovely affair hung
upon a wall,
secreted under a
sliding panel. It
hung directly be-
neath a painting of
the Christ and had
been so hanging,
my friend the anti-
quarian told me.
for age after
long gone to dust.
"On the skin was
traced in hiero-
glyphics which the
Ancient made out
for me. these words :
Left: With each
wish the magic skin
shrinks and when it
has shriveled away
to nothing, its own-
er dies
(Fifty-seven)
CLASSIC
Pauline's father comes home from Russia unexpectedly and unaccountably
laden with rare and costly jewels
Possess me and thou shalt possess all things
Wish and thy wishes shall be fulfilled,
But measure thy desires
For with each wish I must shrink
And in like measure
Each wish shortens thy life
Wilt thou have me
Take me
So he it.
"Of course, mcs amis, I did not believe all this, that is,
not wholly. Perhaps I believed it rather more than some
men would, for I was a poet and a starving one. Still
more, I was a starving poet in love, than which there is
no more receptive mind !
"At any rate, I uttered the first wish that came to my
mind as I dashed out into the street again, which was that
I might meet with my old cronies and have a rousing good
evening for once again ; music, rich food, fine wine,
women, song !
''No sooner said than done. . . . Emil, here, is the
only one ,of you who shared that marvelous evening with
me He was coming along
with some four or five of the
other fellows in a hansom cab
and they nearly ran over me.
in my pitiful excitation,
clutching my magic skin and
looking, or so they thought,
very drunk indeed !
"Ah, but we had an evening,
eh, Emil ?"
Emil, smoking in his cor-
ner, smiled and nodded, fires
of reminiscence lit in his deep-
set eyes.
"Well, that began it," Ra-
phael continued, "surely a
'Strange Story' and with no
respects, either, to Bulwer-
Lytton.
"I cant say that I was
happy. One is never, I think,
happy in such abnormal fash-
ion. Besides, I found my-
self constantly making wishes
and, resultantly, with each
wish the miserable rag of a
skin would shrink and, as I
knew, my life shrank with it.
"It was this very phase of
the whole strange matter that
made me know that the whole
affair was strange, indeed, but
alarmingly true. For. with
each wish that I made, and
which was inevitably and in-
stantaneously granted, my
own vitality ebbed. My grow-
ing weakness was a more
grisly fact to me than any of
the benefits accruing from my
wishes, prodigal enough at
first, but gradually matters of
the most miserly calculation.
"Most of you remember the
incident of my uncle's death.
Some of the details of that
sordid event are not, perhaps,
clear to you. As you may
have heard, Fedora asked to
meet him. I brought him to
her home and he, poor moth,
was. like most men, attracted
to the brightness of her flame.
What I suffered ! What torments ! The final and cul-
minating one being an evening when, reflected in a mirror,
I beheld the woman I desired above all fleshly things, iti
his arms.
"That night, that very night, he was attacked by ruffians
and staggered into my presence, dying. His vast fortune
descended to me. And when I saw the magic skin, and
saw that it had shrunk to less than the size of a bank-
note, I realized with a sick throb that I had wished for
just such an eventuality. Yes, yes, my friends, subcon-
sciously, perhaps, and then again, perhaps not, I had
wished for the Duke's death. I had wished for it for
two reasons : first because he coveted Fedora and next
because I knew that I was the heir to his estates.
"Oh, well, then I took the house in Paris to which
all of you have at one time or another, been the guests.
"It was in this house of mine, too, that I again saw
Pauline, whom I had not seen in all the months that had
transpired between my leaving my garret the night I
went toward the Seine bent upon death, up to the time
(Fifty-eight)
i i kSSIC
.u tin end "i .1 devioui mountain trail There I would
kneel and praj le hou Dicu to restore to m<- m> manhi
t>> remove from me the devilment under which I lived
and under which l was 10 toon to die. On one of I
days I looked down the trail and was a^h,-i-.i to lee two
figures clambering toward me, the one a trifle in advance
of tm receiving in lavish splendor in m) own home
"Pauline was glorious that night. I remember ho* I
stood back to watch lui descending m) stairway, how I
turned to .t friend of mine and said, 'Here comes the mosl
perfeel woman in the world,' and how mj friend, quia
rically, said, 'Mure beautiful than Fedora, men, Raphael
and how I answered, tranced, 'Ah, infinite!} more beau
t i ful than Fedora !'
"Then and there, one evil spell was broken for me,
["he evil spell of Fedora \nd when I realized thai the one, also a woman, a woman with • imething horrible in
beautiful fad} was Pauline, little Pauline Gaudin, who her walk, in her attitude, the second was Fedora, in
stantly, 1 was sick with a morbid terror, For well I knew
that no such altruistic motive as anxiets had sent Fedora
alter me into the Swiss Alps.
"As you know, and as I know, hedora hail noised it
venomously abroad, that my friendship for her had
( Continufd on page W )
of the other, The first, so I saw. was Pauline Faithful,
deal I'. inline, who. it transpired, had followed me into
my retreat oul of her loving anxiety, I'm the second
had attended me in mv povert) stricken garret, 1 was
more than ever 'ma/ed and joyed. No father, she told
me, had made a vast fortune in Russia and the\ no longer
kept a rooming-house for impecunious artists.
That night, mtS amis, my lust was killed and mv
love was born. They are different, 1 tell you that now.
they are very different, love
and lust. . . .
"We began to sec one an-
other every day and to make
plans for our future. With
the birth of love there came,
also, of a natural conse
quence, the spontaneous
birth of many, many more
wishes. I found myself
wishing this for us and that
for us, I wished to perfect a
happiness more glowing and
glorious than ever before ex-
perienced by man and wom-
an. And with each wish 1
grew weaker and more mis-
erable. There was I. with
happiness in my two hands,
and all the while, my two
hands growing more feeble
and more futile.
"I was in despair, then.
Happiness, and I could not
taste it ! The wine was at
my mouth and the sparkle
had died down. I tried in
every way to destroy that
accursed skin. It would not
be destroyed. It would
shrink only of its own ac-
cord, in its own manner, and
with its shrinkage it drank
my life-blood from out my
impoverished veins.
"I became melancholic,
and in order to attempt to re-
gain some degree of health
before our marriage, I made
a journey into the Swiss
Alps.
"There, I thought, away
from Paris, away from Paul-
ine, away from Fedora, who.
after the fashion of women
of her sort, had become
malicious and passionate now
that she had lost the thing
she had despised, away from
all of this, I might not have
the urge to make any wishes.
I might grow stronger.
"The end of it all came
there in the Swiss Alps.
"It was my wont to go.
every day, to a little shrine
Here is the course of true love not running smoothly as is its custom,
poet leaves his garret . . . and his sweetheart
The
(Fifty-tune)
Abandon
Ira L. Hill's vivid study of Gilda Gray in her Voodoo dance, in which she interprets
all the mysterious and incomprehensible rites of conjury, snake worship, witchcraft,
haunts and so forth. It is an amazing performance — of utter abandon. You really
shouldn't miss it. It happens nightly at the Rendezvous
(Sixty)
Classic Considers-
CAMBARELLI
Because she is premiere danaeuac
of that excellent ballet which
adorna the Capitol Motion Pic-
ture Theater in New York City
Becauae she has performed the
prodigious feat of dancing at
eight thousand — yes, we mean
thousand, not hundred— consec-
utive performances
Photograph b> Han ook, I. \
HAROLD BELL WRIGHT
Because he is the most widely read author in the world, beyond any question.
Not one of his books has sold less than a half million copies; and when one
figures five readers to each book and there are nine in all, the number of
readers is tremendous. Principle Pictures intends to film all nine, starting
with "When a Man's a Man." This record is absolutely unparalleled
WILLA SIBERT CATHER
Because, in a recent poll of the five greatest American authors
she was the only woman. Because her novel, "One Of Ours,"
won the Pulitzer price for 1922, which awards $1,000.00 to the
American novel that presents the most wholesome atmos-
phere and approximates the highest standard of manners and
morals. And last, because her latest book, "A Lost Lady."
is better than any of her others
rhotogr.iph by K;ulel and Herbert
1 1 -^ # "f
n
Six
■ ii ** ^HJ
Li
IfcL.
i ■
- \
™
TL~ -
Hk -4
wmA
*
TONY SARG
Because of all the puppets and marionettes in the world, his are the most
unique and interesting. They are good enough for Victor Herbert to com-
pose special music to their antics. The one above is from "The Chinese
Willow Plate Story." which will have its premiere in December at the
Belasco Theater. They say it is colored so gorgeously that it looks like a
huge animated stained-glass window
Sixly-one)
Photograph by Alfred Cheney Johnston
BEING a confirmed bachelor, I'm merely an onlooker
in this game of marriage. It is perhaps incongru-
ous for me to speak of divorces at all. However,
sometimes those who stand on the sidelines get a more
detached perspective than the players.
Perhaps if marriage wasn't such an easy proposition,
the success would be greater. But then the whole thing
is a strange business. Getting married is easy, trying to
get unmarried is where the rub comes in. Two people
can meet one day, get a marriage license the next and go
before a minister or a justice of the peace or a ship's
captain and, unquestioned, be married. The mariner, for
instance, would not think of setting out on a long voyage
without charting out his course with due regard for ad-
verse winds and currents. But less wisely he will cast two
people adrift upon the seas of matrimony that are infinitely
more uncertain than the storm-swept ocean.
Then, if the hapless couple strike shoals and foresee
ahead rocky coasts threatening to wreck their happiness
and decide to turn back to the port of departure, people
begin to ask questions.
Getting
Married
and Un-
married!
By
LEW CODY
Mr. Cody and Miss
Chadwick are playing
together in a Goldwyn
picture by Rupert
Hughes, called "Law
Against Law," which
deals with the evils of
divorce — not because
of divorce itself but
the unhappiness that
results from the arbi-
trary and conflicting
laws to which it is
subject. We thought
it fitting, therefore,
that they be given an
opportunity to have
their say. It makes
interesting reading
If you take out a driver's license for an automobile,
you have to fill out a questionnaire. But they give you a
marriage license unquestioningly.
By all of which I mean that our present system seems
in some respects fundamentally wrong. They never ask
why you want to get married, but they ask a lot of ques-
tions and make much fuss over your trying to get un-
married. The point is, getting married is a far more
dangerous business and should not be entered into lightly.
But when people want to get unmarried, it is a pretty safe
bet they have real reasons. They have tried out the
thing, and know. Not that I am an advocate of easy and
many divorces. Far from it. I regard marriage as the
most sacred of human relations. But people do make
mistakes.
I never before bothered a great deal about divorce,
but when I was cast in Rupert Hughes' new picture,
"Law Against Law," and discovered that in one state I
might be thoroly divorced and in another state have three
wives, simultaneously and all legally, the thing took on
(Continued on page 88)
(Sixty-two)
Why Do
People
Get
Divorces?
By
HELENE CHADW1CK
Mr. Cody says: A
man is most easily
managed when he is
managed unwittingly.
A man should not
hide all his faults and
deny his IVlfe the
pleasure of reforming
him. Miss Chodwick
says: Men are strange
creatures. For all
their being men and
strong, they are like
little boysl On the
other hand, they like
women to ask advice
of them . . . for man
does feel that he is a
superior being
DIVORCES seem necessary. Xot every marriage, as
we know, can be a happy one, and certainly it is
better that a couple, discovering they have made a
mistake, be given a chance to start over again and have
some hope of happiness.
But when the number of divorces each year reaches the
alarming number they have in America at present, it is
patent that something is wrong somewhere. It is always
interesting to consider reasons, and certainly there must
be reasons for this untoward condition that sees tens of
thousands of homes broken up yearly.
Faults very often lie at home. I think many matri-
monial difficulties might be averted if the husband and
wife understood each other not simply as such, but as
man and woman. There are certain things, call them
psychological or what you will, that are inherent in the
relations between man and woman that must not be over-
looked. A realization of these facts, and the practice of
a certain tolerance, would, I feel sure, result in a mutual
understanding that would in some degree, at least, lower
the number of divorce suits taken into court.
Photograph by Clarence S. Bull
Consider how many couples, on the verge of divorce,
have been reconciled in court by an understanding judge
who opened their eyes to things to which they had been
blind. But not all judges can weigh all cases, therefore it
becomes necessary for the principals in the case to take
on themselves the responsibility of sound judgment.
First, every woman should consider the qualities a
man demands in a wife, and sincerely endeavor to culti-
vate those qualities. Men are much the same in this
respect ; in their eyes a wife is a wife, and she must strive
to be that.
Men are strange creatures. For all their being men
and strong, they are much like little boys, and like to be
petted. But too much petting palls. On the other hand,
they like a woman to ask advice of them, that they, the
men, may look down from the magnificent heights of
their superiority. F"or man does feel he is a superior
being.
So. a wife should learn that her husband is not always
in the same mood : she should consider when he wishes to
(Continued on page 88)
(Sixty-three)
(Sixty-four)
A Happy Youn^ Man
Bv FAITH SERVICE
Yo{' N>> seldom meet ■
happy young man. You
so seldom meet peo-
ple admittedl) happy, who
can tell you win they are
happ) and expect to con
tinue to l>e happ) even in the
face of the fact that they
know they may not.
There seems to be, In this
.ration, a sort of cru-
sade against happiness. It
isn't the style. It is what
the dictionaries might refer
to ,i< "disuse." It just isn't
being done. It has come to
be considered as "interest-
ing" to be morose and mel-
ancholic, skeptical, cynical,
super-Russian, thickly iron-
ical. God and laughter and
Santa Claus and Holy Mat-
rimony, babies and blue
skies and kind hearts and
simple faiths . . . these are
the dethroned idols of a van-
ished Yesterday.
But Alfred Lunt, on the
day I talked with him. was
a very happy young man — by my observation and by his
admission.
Happy for many excellent and solid reasons, such as
the fact that he is in love with his wife, in love with his
work, was having his first vacation in many years, had
just finished a picture be thought was good, and enjoys
his mother rather more than any other woman he knows.
Not because his mother happens, by a fortuitous ac-
cident'of biology, to be his mother, but because she is. by
herself and in herself, a personage.
He told me sympathetic and delightfully appreciative
things about her. How that he is the child of her first
marriage, the only child. How she married
again, a Scandinavian gentleman, I be-
lieve, and has two or three other
children ; two girls among
them. How she always
longed for one of her
children, all of them jZA
if possible, to go on
the stage. How de-
lighted she is be-
cause he, Alfred.
did go. How she
Above is
young M r .
Lunt living
up to the
title , and
right, as he
appears in
''Second
Youth," a
Distinctive
Picture
Photograph by Pach Brothers
still tries to urge the \!\\
140 and i- milled
the) K'lu i- and an- ada
mantly disin< lined. Vnd how
she would have liked to go
on tin- itage herself
I le told iih something "i
his former home, -till his
mother's, in a mid Western
tow n. of how she makes h<-r
lips sen 1,1 because it ami
her and arranges hei 1"
t i fill hair into an intricate
and interesting coiffure, "to
charm," her fond son said.
"the potato buj^s. I suppos
Mr. Lunt believes with
some of the perhaps less
popular moderns in the
theory that a child owe-
rather less to the parent than
the parent to the child. That
if there be a bond of sym-
pathy and congeniality, well
and good. But if the bond
does exist it is not because
they are mother and child.
of necessity, but simply be-
cause they are two per
with a common point of view and a respect, the one for
the other. At any rate, and theories aside, it is obviously
enough a very delightful relationship between them.
Well, his mother, then, is one reason for his happi;
and I can think of no more basic, no better reason.
Secondly, not necessarily in the order of importance
but in the order of my paragraphic tendencies, is his wife.
Lynn Fontanne. who made the play and name and char-
acter of "Dulcy" famous.
Alfred fell in love with Lynn ''at first sight." Yes. an
authentic case of the old poetic, cardiac collapse. I have
heard people say that there is "no such thing.'' There is
such a thing. Mr. Lunt did it. It happened
in this wise:
Mr. Lunt and Miss Fontanne were
to rehearse in the same play,
the name of which es-
capes me, and doesn't
matter. Mr. Lunt
was first upon the
stage, a w h o 1 e -
hearted, emotionally
comfortable enough
l Cont'd on paii,
Alfred Lunt
is happy be-
cause he is
in love with
his wife and
in love with
his work;
two very ex-
c e 1 1 e n t
reasons
(Sixty-five >
s
Our !
Boulevardier
Steps Out
'INCE the collapse of her romance
with Charlie Chaplin, the fair and
fascinating Pola Negri seems to have
forsworn masculine society altogether.
Her inseparable companion now is
Kathleen Williams who, in private life,
is the wife of Charles Eyton, manager
of the Lasky studio. You never see Pola
but that her pal, Miss Williams, is some-
where upon the horizon.
^V
Top of the page: Neither a funeral
nor a wedding, but merely extras from
"The Judge and the Woman.1' Above:
Off-stage entertainment by two of the
cast of "Tiger Rose." Right: John
Bowers and Marguerite de la Motte.
who are playing in Harold Bell
Wright's "When A Man's A Man."
Below: A recent wedding party, Lila
Lee and her husband, James Kirkwood
Pola is just beginning work on a new picture, "My Man," in which
she plays the part of a rough lady from the apache districts of Paris.
In this, she will get back to the kind of stuff she did in "Passion," upon
which her reputation was built. Her leading man is to be Charles de
Roche, the French actor ; Hunt-
ley Gordon is also to play a lead-
ing part.
Hollywood is consumed with
excitement as to whether Pola
was able to put it over Mary
Pickford; their two pictures,
"Rosita" and "The Spanish
Dancer," being the identical story
and handled in much the same
way. Neither picture has, at this
writing, been shown in Holly-
wood. Pola's admirers say she
didn't have Mary's chance be-
cause "The Spanish Dancer"
wasn't a star picture and Pola
had to take her chances with the
other boys and girls.
Mary is just beginning work
on "Dorothy Vernon of Haddon
Hall" with her old friend, Mar-
shall Neilan, as director. They
started in pictures at about the
same time years ago in the old
Biography days, and "Mickie" has directed some
of Mary's finest work. But you know how it is
with Mickie; he just cant get anywhere on time.
So for the discipline of his soul, Mary has made
certain important preparations. One is to teach
her parrot to screech out, "Well, you're late
again, Mickie." As a re-enforcement, she dug up
an old phonograph record of a once popular song ;
so the first time Mons. Neilan wanders in late,
he will be greeted by the old song, "I've Waited,
Honey, WTaited Long For You." None of which
will worry Mickie in the least, you can be sure.
All the celebrities in Hollywood turned out the
other night for the big opening of "Little Old
New York," in which Marion Davies scored a
triumph. Among them was Mary Pickford, also
(Sixty-six)
And Reports
The Hollywood
Gossip To
Harrv Carr
Doug. They slipped in as unobtrusively
as possible, hoping not to be noticed. At
the first intermission, a fond mamma
came galloping up the aisle with a cherub
child and announced in a good strident
voice, "My little girl wants to kiss you."
Whereupon Mary got smacked. This
spread the wild alarm. All over the
house, other fond mammas leaped to their
feet and started down the aisle dragging
other angel cherubs presumably to he
ki-sed. Happily for Mary, the first fond
mamma had no intention of letting anybody jump her claim. She seen
Mary hrst b' gosh; so, to the intense indignation of all the rest of the
mothers, she staved right on the job and monopolized Mary until
the intermission was over.
They are having the time of
their lives out at Mary and
Doug's studio. Mary has got
hold of some seventy old Bio-
graph pictures made in 1913.
Mary took us in the projecting-
room and showed us one in
which she appeared as a little
page boy in tights. She was as
fat as a partridge, so fat she
could hardly show her eyes when
she desired to emote.
Bill Hart seems to have come
back to the fillums full of pep
and excitement. His first pic-
ture based upon the life of Wild
Bill Hickok was made in the
almost unprecedented time of
thirty days. And at that, he was
much of the time on location out
at Victorville where work is
ordinarily slow. Among other
things, Bill would seem to have
scooped all the studios with the
first Abraham Lincoln of the season. Everybody
is making pictures with Civil War atmosphere
and Abe Lincolns. possibly fired by the example
of the Rockett boys in filming the life of Lincoln.
Ince is making Barbara Frietchie with a Lincoln
in it ; somebody else is making "The Warrens of
\ irginia" and so on. Just by way of. good meas-
ure. Bill also has General Custer, General Sheri-
dan. P,at Masterson and the Earpes and other
historical characters in his.
Bill's second picture is going to be one that he
wrote himself — a story of the West of about
twenty years ago called "Singer Jim MeKee."
Theodore, Roberts has been living a very
strenuous life of late. He has been appearing in
vaudeville during the evening hours in Los
Top of the page: Spring Magic from
"Maytime." Above: Two little chil-
dren from "The Light That Failed."
Left, reading from top to bottom:
Charlie Chaplin, Manuel Alonzo, Bill
Tilden and Douglas Fairbanks; the
best in their professions, screen and
net. Below: Victor Seastrom, the
great Swedish director, with his wife
and children
(Sixty-seven)
CLASSIC
Bert Lytell, Blanche Sweet and
Bryant Washburn, between scenes
from "The Meanest Man in the
World." Did you ever try this on
your piano? Below: An interesting
view from "Law Against Law" es-
pecially posed for Classic by Paul
Ivy and Richard De Vilbiss. Below:
Madge Bellamy in "No More
Women." Plenty of men, tho
Mabel Normand in her endearing
role. The Extra Girl
Angeles and putting in his daylight
hours at the Lasky studio.
* * *
Ambitious near stars will have to find
another friendly angel in Hollywood.
L. M. Goodstadt, the casting director
who has discovered so many of them,
has moved on to another job. From
now on, he will be the business manager
of Cecil De Mille's producing company.
Before going into pictures he managed
De Mille's theatrical interests. Since
1916 he has been in charge of the cast-
ing for Lasky. During that time he has
seen Bebe Daniels, Jack Holt, Agnes
Ayres, Gloria Swanson, Wally Reid,
Wanda Hawley, Constance Wilson,
and many other people now famous
have peeked in thru his little window
looking for movie jobs,
* * *
Bebe, by the way, is back from New
York, about twenty pounds less fat than
when she left this salubrious climate.
Her first picture in California since
her return will be "The Heritage
of the Desert'' by Zane Grey.
Norma Talmadge has a more
than academic interest in the
weather reports just now.
She is making the night
scenes of an Arab picture
yet to be named. And her
garb is not of the Arctic.
She is an Arab dancing
girl, and it seems that Arab
girls dont wear. . . . Oh
well, the director wants
Norma to seem languid and
tropical and warm ; and the
California climate has sudden-
ly gone upon a most unusual
rampage and the gooseflesh
comes out on Norma, and the next
time she makes an Arab pic-
ture she says it is going to be
in a baker's oven.
The cold wave is probably the result of
the eclipse. And while we are on — or
under — that eclipse . . . The most favored
spot in the United States from which to
view it was a point on the Coast about a
hundred miles south of Los Angeles.
Everybody who could get hold of a day
off and an auto went dashing madly to the
scene ; but the studio people had to work.
So to appease their disappointment, the
management of the big United Studios
rigged up a regular theater of chairs on
top of the largest studio. The players
were excused and ranged themselves with
awed anticipation. And then a darned old
cloud came humping along and got in the
way and 'so they couldn't see the eclipse
after all. Yes, it's a hard life, mates. Es-
pecially if you live in sunny ( ?) California,
and are a poor hard-working movie star.
(Continued on page 72)
(Sixty-eight)
Put them on your Christmas List
Everyone lilus to lime lovely nails
i
PRICES and SIZES
I OR l VEM
CHRISTMAS NEED
(jO) Christmas packages .;/ the
right range oi prices
POR the fastidious dressing
» table the fascinating Botidoir
Set with its cunning little rum
partments tor cotton, buffer,
Cuticle Remover, Nail White,
Cuticle Cream (Comfort) and
three different Polishes, includ-
ing the marvelous new Liquid
Polish. This makes a substantial
gift or worth and distinction.
The huffier, stick and file alone
seem almost worth the whole
price, only #3.00. For $5. 00 there
is the still more elegant De Luxe
set. The Cutex Ivory Case at
#7.50 is luxuriously packed in a
charming box of fine quality
imitation Ivory.
Cutcx Boudoir Set
C"OR the greeting that must he
*■ more personal than a card —
the square little box at the bot-
tom contains half sizes of every-
thing essential for the nicest
manicure. The Cuticle Remover,
Cake Polish, Paste Polish h ith
the fashionable new rose tint),
Nail White, emery board and
the daintiest little orange stick,
all gay and cordial in their little
black and rose boxes. This com-
pact set is almost indispensable
for the week-end, the over-night
visit or the office toilet kit, and
it costs only 60c.
Cutex Compact Set
CUTEX TRAVELING SET. £1.50
CUTEX BOUDOIR SET, £3.00
CUTEX FIVE MINUTE SET, £1.00
l A< H WITH A SPECIAL
l IOLIDAY WRAPl'l R
C*OR the friend who is always
*■ dashing off somewhere the
ill Cutex Traveling Set at
the top slips in the dressing case.
I he Cuticle Remover, the cake
oi white Polish, the jar of pink
Paste Polish and the convenient
Nail White are tucked in se-
curely with a separate pocket for
the steel file, the emery boards
and the orange sticks. This
handsome lasting set is only
£1.50.
Cutex Traveling Set
' I 'HE third set, for convenient
*~ use at the dressing table.
How trim and complete it is.
And it contains the Cuticle Re-
mover, of course, absorbent cot-
ton, emery boards, and manicure
stick, and both the wonderful
new Cutex Polishes, the Liquid
Polish for speed and brilliance,
the Powder Polish for a delicate
rose-pearl lustre — all so conven-
iently arranged not a moment
is lost in using it. $1.00.
Cutex Five Minute Set
You can get these Cutex Manicure
Sets with the special holiday wrappers
M Mly druji or department store in
the United States and Canada and at
chemist shops in England. Northam
Warren. 1 1 4 V. I 7th St.. New York.
(Sixty-nine)
\ IbelDvieLnc^clopdecli
Pauline. — Better to have than to wish, so here is your answer.
Richard Dix is not married and is playing in "The Call of the
Canyon" with Lois Wilson. Yes, Ramon Novarro and Alice
Terry are playing together. By all means write again.
Helen M. — Too bad, too bad, but since misfortunes cannot be
avoided, let them be graciously borne. No, Ramon Novarro is
not married. He is twenty-four and has played on the stage. Af-
ter "The Spanish Dancer," the fiery Pola Negri will play in
"My Man."
Alice Admirer. — Dont forget that a good thing is all the
sweeter when won with pains. Hoot Gibson in "The Pony
Express." Always send twenty-five cents when requesting a pic-
ture from a player. Address him at Metro, 1025 Lillian Way,
Los Angeles, Cal. You're welcome.
Frances Ann. — No, I dont get much money, but I have a lot
of fun. It is not what we possess that makes us happy, but
what we enjoy. If you live according to nature, you will seldom
be poor ; if according to opinion, never rich. You refer to Edward
Phillips. He was with Warner Bros, in "George Washington,
Jr." last, and he played in "Sawdust." Jack Mower was the
chauffeur.
Eleanor G. C. — So you dont believe that I am an old man, but
you think I am young and handsome. Well you keep right on
thinking, yon wont be violating the laws. Yes, of course I like
May McAvoy. Lila Lee is eighteen, stands five feet three. Not
married — for Richard Dix.
A Flapper's Dream. — Page Mr. Freud. Dont think Craig
Ward is doing anything right now. Reginald Denny in "The
Leather Pushers." Why Priscilla Dean in "The Storm Daughter."
Harrison Ford is married to Beatrice Prentice, and Mary Pickford
has hazel eyes.
Ching. — So you think I ought to have my whiskers bobbed.
Whewu ! It's too cold. I usually retire about eleven. One hour's
sleep before midnight is worth two hours after. Yes, Malcolm
McGregor is married. Boy, oh boy ! You say it was so hot where
you were that when it rains, it dries up before it hits the ground.
Tell me, did you have many playmates?
Hector. — Well, I wont say it. It wasn't a nice thought. I was
reading in a little book I have which is over one hundred and
thirteen years old that modesty is sure the chiefest ornament of
our sex, and cannot be blamable in the men ; it is one of the
most amiable qualities that either man or woman can possess.
You wouldn't think so today. Niles Welch was Roy in "The
Cup of Life." Clever letter yours.
Movie Fan.— Why worry for something you cannot get ; usually
it is not a want but merely a desire. George O'Hara is with
Robertson-Cole, also Mary Beth Mil ford. Reginald Denny with
Universal. Rex Ingram and his wife, Alice Terry, are touring
Europe for three months where the director is doing some research
work for his next production, "The World's Illusion."
Oklahoma City. — The player you mention was said to be
very much attached to his wife, nevertheless he went to court
and got detached. Edward Burns
is thirty-one, and Robert Frazer in
"Jazzmania." Nita Naldi was born
in Italy and she is playing in
"Everyday Love." No, indeed, I
dont mind answering questions.
R. Valentino Fan. — Well you
wont see Valentino on the screen
before February 1925. Monte Blue
is thirty-three, and. he and Irene
Rich are playing in "Loveless Mar-
riages."
Lillums. — You say you would
like to have a picture of me eating
green corn on the cob. All right,
that's a go, provided you will give
me a picture of yourself eating
This department is for information of ■ general interest
only. Those who desire answers by mail, or a list of
film manufacturers, with addresses, must enclose a
stamped, self-addressed envelope. Address all in-
quiries: The An-wer Man. Classic, Brewster Build-
ings, Brooklyn, N. Y. Use separate sheets for matters
intended for other departments of tHis magazine. Each
inquiry must contain the correct name and address
of the inquirer at the end of the letter, which will not
be printed. At the top of the letter write the name
you wish to appear, also the name of the magazine you
wish your inquiry to appear- in. Those desiring imme-
diate replies or information requiring research, should
enclose additional stamp or other small fee; otherwise
all inquiries must wait their turn. Let us hear from you!
spaghetti. Marion Davies at the Cosmopolitan Studios, New York
Brown-Eyed Sue. — No, I do more writing than I do talking
Talking and eloquence are not the same ; to speak, and to speak
well, are two things. Lloyd Hughes is twenty-four and that is
his real name. Address him at lnce, Culver City, Cal. That
was George Nichols in "Children of Dust."
Sunshine and Moon. — You bet, the life of love is better than
the love of life. Thomas Meighan is thirty-nine. Ray McKee is
starring in a series of comedies, also in "Forgive and Forget."
Gaston Glass is twenty-five.
Bill. — All right, here are your addresses. Kenneth Harlan at
the Schulberg Productions, 3800 Mission Road, Los Angeles, Cal.
Tom Mix with Fox. Pauline Garon in "The Turmoil" and she
has blue eyes.
Adeline Z. — Marjorie Rambeau is playing on the stage right
now. And, by the way, she is playing in the same show with
Maude Leone, who was the first wife of Willard Mack, and Miss
Rambeau was his last. Irene Castle is playing in a concert tour
right now. Why yes, Mae Marsh and May McAvoy both wear
glasses when not taking pictures.
Alice R. — Good-bye, but not forever. Charles Ray is going
to play on the stage in "The Girl I Loved." Then there is Ruth
Roland, Nazimova, Theodore Roberts, and many others who are
going on the stage. Lloyd Hughes is married to Gloria Hope,
and he is twenty-four, six feet tall. Green eyes and dark-brown
hair.
Juanita. — D. W. Griffith is producing a patriotic film called
"America." The title was decided upon after a canvass of six
universities, schools, clubs and sporting clubs. "America" won
by a narrow margin over "The Spirit of 76." Bessie Love is to
play in "Gentle Julia" for Fox. Yes, Mae Murray is with Metro.
E. H. — Yes, it is all settled. Joseph Schenck has announced
that he is going to produce "Romeo and Juliet" with Norma Tal-
madge and either Joseph Schildkraut or Conway Tearle. I'm
betting on Conway. Dorothy Dalton is twenty-nine ; Lillian Gish
twenty-seven ; Dorothy Gish twenty-five ; Bebe Daniels twenty-two
and Viola Dana twenty-five.
Red Tex. — Thanks for the sketch, it was a good likeness.
Carl C. W. — Why the first cattle ever brought to America are
said to have been introduced by Columbus in his second voyage
in 1493. In 1553 cattle were carried by the Portuguese to Nova
Scotia and Newfoundland, and are said to have increased there
very rapidly. Thanks for the suggestion. Address Rodolph Val-
entino at 50 West Sixty-seventh Street, New York City. Yes, I
think the majority of players were born in America. Garreth
Hughes was born in Llanelly, Wales, in 1897.
Another Vamp. — I suppose you have just graduated from the
vamp school. Well the trouble with exercise is that the more
you exercise, the more you will eat and drink, and therefore you
cannot hope to reduce much except by dieting. Remember your
calories — about 2,500 for you. No, Mary Astor is not married ;
she is about eighteen. Gaston Glass and Clara Bow in "Poisoned
Paradise."
Hanover. Pa. — Thanks for send-
ing me the pictures. Last I heard
of Lillian Walker she was in vaude-
ville. Leah Baird is playing in her
own pictures. Yale Boss is back in
pictures, but I dont know what
happened to Mary Fuller. King
Baggott is directing Baby Peggy,
you know. Audrey Berry played
in "Java Head."
Dorothy Van D. — Well the best
rule I know of is this : Try to keep
your body comfortable, and when it
becomes uncomfortable seek an in-
telligent readjustment of your habit.
(Continued on page 73)
(Seventy)
Do You Know Flapper Psychology?
f^\v.v/ GdTUh ills mis lain, as if by a sixth sense.
■IS to uncover the headlong code of the adolescent
youth of today. She knows -why they are "(io i/et
ters" and "Stand-patters." and she has turned the
X-ray on all the little (juirks in their emotions
that they keep so well hidden from prying
maiden aunts and teasing uncles, to say nothing
of overanxious mothers and severe fathers.
7'oui
wit)
THFfl PASSION, MISS GATI.IN DEPICTS
ith a thrill that burns and laughs in a
breath. Her stories appear in " 1 1 arper's
Bazar," the "Cosmopolitan Magazine ." the
"Saturday Evening Post," and other of the
best magazines.
TT'OR MOTION PICTURE MAGAZINE, Dana G(lt-
*■ lin has prepared a six-part serial "Thistle-
down," a story of young love that will delight
those who know fiapperism, those who dont know
it. and those who want to know it. The story is full
of mystery, suspense, surprise, situations that throb,
characters who are like your intimate neighbors; and
thru it winds the lure of the silversheet and the glamon
of romance.
"THISTLEDOWN
**
By DANA GATLIN
Beginning in the January
MOTION PICTURE MAGAZINE
IT IS THE OLD STORY OF THE CHASE
A SON OF THE IDLE RICH— A LOVELY WAITRESS
"The waitress was new on the job at ThiebaucTs — the young men being of the type that
notes such things, noted that at once; they postponed their order to eye the waitress
appraisingly. She was worth looking at, she had the singular delicate loveliness one
sometimes sees in unexpected places."
BUT CAP AND APRON ARE A MASQUERADE
AND FATE STAGES A SHOCK FOR THE GILDED YOUTH
"He wanted to hold my hand a while ago," the girl said demurely. The old Alsatian
made as if to heave his unwieldy frame over the bar. "He insult you, the dog? Wait,
I fix him. I tell him who you are! — then I throw him "
On the news-stand December first
(Seventy-one)
u
IMs Book Supplies all
the FamilySWinterNeeds!
Shop from YOUR Philipsborn Style
Book TODAY — it supplies all the
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PHILIPSBORNS
DEPARTMENT- ESS -CHICAGO^
Photograph by Edwards Hesteller
Our Boulevardier Steps Out
(Continued from page 68)
A whole city is to co-operate in the
making of "Her Temporary Hus-
band," which John McDermott is
directing for First National. The
city fire department, the entire police
force, and two thousand five hundred
residents of Long Beach, California,
have volunteered.
* * *
Conway Tearle and his wife —
Adele Rowland of vaudeville fame —
have decided to make their home per-
manently in Hollywood and have
moved the furnishing of their Long
Island home out here. They gave an
elaborate house-warming the other
night at which Ethel Barrymore, Mrs.
Leslie Carter and Mr. and Mrs.
Frank Lloyd were the guests of
honor.
Helene Chadwick
has the real-estate
bug. She has an-
nounced that, at
the conclusion
of her present
Top of the
page: Myrtle
S t e a d m an
and her son,
Lincoln, an-
other second
g eneration
movie team
contract with Goldwyn, she intends
to retire from the screen and open a
real-estate office. Art and all that is
all right, says the fair Helene, but
there never will come another easy-
money period like this in the history
of the world and — well somebody
else can take care of art.
After he finishes "Black Oxen"
with Corinne Griffith, Frank Lloyd is
to produce "The Sea Hawk" ; cast not
stated. In connection with "Black
Oxen," Lloyd says that he has found
in Little Clara Bow, who was a prize
winner in one of the Brewster "Fame
and Fortune" contests, one of the
real "discoveries" of his career.
Nearly all the Hollywood
studios have shut down
hard on visitors. One
of the big producers
has estimated that
every visitor
costs his studio
(Continued on
page 78)
Hoot Gibson,
who will
soon have his
own compa-
ny to make
pictures for
Universal re-
lease
Photograph
by Freulich
(Sevcnty-t'.vo)
The Movie Encyclopaedia
i {. onlintitd from pagt 70)
Win George Htckathorn is five feel seven
.md is i>l.i\ ing in " rhe runnofl" whh
Eileen Percy. You bettei \\ rite in
English
Hi- ki y F Bettei go back than ro
wrong Yes, (Catherine MacDonald li
married to John Schoen Johnson Antonio
Moreno is thirtj So you want me to
call on you when 1 n>> South. Thanks,
\Vi<h I could accept .ill the invitations 1
have Barbara Bedford and Lloyd
Hughes i" "The Whipping Boss."
..n 1 cant say when Eugene
O'Brien will return to the screen
Clyde The best doctor 1 know q{
recommends rubbing vaseline or olive-oil
into the scalp even night for preventing
the hair from falling out. Look at tn\
picture and tell me if you are willing to
take my advice on how to prevent baldness.
Yt >. that was Kenneth Harlan in "Beauti-
ful and Damned." 1 attended the opening
ot "Little Old New York." The Lee
children have gone to London to play.
Miss Tiielma. — Madge Kennedy in
"Three Miles Out." Sounds as tho it
might be interesting. Eddie Burns is with
Metro. Little Priscilla Dean Moran,
Jackie Coogan's adopted sister, is playing
one of the children in "Daddies" starring
Mac Marsh.
Mildred A. — Good words cool more
than cold water. Yes, Joyce Fair is a
child. Yes, Mary Pickford married Owen
Moore twice. Once by a preacher and
again by a priest. Shirley Mason and
Viola Dana are sisters.
Louisa. — So you have a fliwer. As
Bugs Baer says, "anything that happens
to them is bound to be an improvement."
You refer to "De Luxe Annie." It was
released some time ago. Write to Metro
for a picture of Rex Ingram. John
Bowers, Frankie Lee, Sylvia Breamer and
Marjorie Daw in "The Barefoot Boy."
So. — Is that so? Of course Lila Lee
and Bebe Daniels arc friends. Bebe is
twenty-two, and is playing in "His Chil-
dren's Children." Doris May and William
Farnum in "The Gun Fighter." House
Peters and Evelyn Brent in "Held to
Answer."
Me for J. Warren. — No. I dont use
my beard as a coffee strainer. What next !
Of course I live in a hall room and love
buttermilk. \'o Warren Kerrigan isn't
married. I bet many a girl wishes he was.
Yes, Dorothy Dalton has been in musical
comedy. You know she was the original
Aphrodite.
M. R. V. — They do say that Natalie
Talmadge is expecting the stork any day
now. Mae Murray is twenty-seven.
Gloria Swanson is at the Astoria studio in
Long Island. Anna Q. Nilsson is married
to John Gunnison.
Frank. — Frank you are. Yes, why
dont you try writing to your favorite.
They like to receive letters of criticism
of their work. How did you like the
cover of Strongheart last month? You
know that dog certainly has a happy time
of it, he lives on three pounds of porter-
house steak every night, and doesn't have
to worry about reducing.
Julia J. H. — William Duncan is play-
ing in "The Fast Express" for Universal.
Edith Johnson opposite him. Well if you
pay nothing ; dont grumble about the
score. Yes. there is Nita Naldi. As long
as your eyes are not too deep-set, you're
all right.
Bobbie. — Of two evils, choose the least.
Why Taylor Holmes has been playing on
the stage, but right now he is working
on a picture. That was quite some list of
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The Woman Who Dared Not Smile
By Richard Somners
EVERY man fell head-over-heels in love With
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the charm was broken.
Everybody agreed she would he absolutely
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Then, one day a miracle happened!
Henrietta appeared at May Osborne's dinner
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ductory bottles direct by mail, at the .ictua 1 co«t of
production — including the bare expense of com-
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cannot afford to accept over a few thousand cou-
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Send No Money — Merely Mail Coupon!
Century Chemists, Dept. 455,
710 W. Jackson Blvd.. Chicago
Please send me, in plain wrapper, one full-size
bottle ($3.50 size) of Mr. Ryerson's Renamel for
five days' free trial. I will pay postman the actua I
cost priceofS1.87 — plus a tew cents postage — with
the understanding that if I am not fully satisfied. I
may return unused portion of Renamrl at the end
of five days, and you will refund my money in full.
Address
I f apt to be out when postman callr. enclose X2 wittl
coupon, and Renamel will be sent to you postpaid
(Seventy-three)
I
say Morri/Xwas
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favorites you have. Enid Bennett with
Metro in "The Living Past" with Harri-
son Ford. No, I dont mind. And so near
Christmas too.
That Red-Head Gal. — Yes, the Classic
was formerly called the "Supplement" and
then "The Motion Picture Classic" and
now it is called just plain Classic. Can
you suggest a better name? No, dont be
bashful. And you want to see more of
Johnnie Walker and Cullen Landis. No,
not much to offer you.
Margaret C. — You will have to wait
until February 1925 to see Rcdolph Val-
entino on the screen. Yes, Thomas
Meighan ; and Gordon Griffith was Sam.
Norman Kerry has been signed to play
opposite Mabel Forrest in "The Satin
Girl."
A Pair of Cats. — I dont believe it.
Anyway a pair is better than three of a
kind. That is. speaking of cats. Jack
Holt is six feet arid weighs one hundred
and seventy-five. That is his right name,
and he has been playing for about six-
years. All right, stop in again sometime.
Sister Sue. — Well I did not know that
business was as bad as you say it is, but
I have often noted that the man who is
always talking about the poor business
outlook is usually the one who has a poor
way of looking out for his business. Yes,
that is Mae Murray in "Fashion Row."
Lloyd Hughes is twenty-four. No of-
fense, and I hope to hear from you soon
again.
Gloria V. — Jane and Eva Novak have
been signed to play sister roles in Fox's
"The Man Whom Life Passed By." Percy
Marmont opposite Jane and Cullen Landis
opposite Eva. Yes, Mary Pickford is
thirty, but she doesn't look it. I'm sorry.
Gloria, but I cannot tell you how you can
get a screen test for yourself.
Margaret B. — Well you will find that
most people love you most for what you
have and not for what you are. And
dont forget, money talks. Yes, Franklyn
Farnum is with Fox. Better give up the
idea for a while. Write me again.
Morgan A. — Well there's no watch on
me. I cant afford one. The word "watch"
comes from the Saxon "waeccan" signi-
fying to wake, to excite, and is the name
applied to the numerous species of time-
makers which have sprung legitimately
from what old stirps, or stock — the clock,
the earliest history of which is lost in
the night of the past, but which has played
so wondrous a part in the civilization
of the world ; and who knows but in bar-
barism too, for the meaning of the term
originally was "bell" and is still retained
in the French cloche. My, I didn't mean
to say so much. Viola Dana at the Metro
Studios. Bebe Daniels was born in Dallas.
Texas. So you dont agree with me, and
you say love is life, and that is what you
make it. Well I agree with' you. So
much for that.
Margaret, Aurora. — Norma Talmadge
is twentv-eight, and she was born on May
2nd.
May Mc. — So you think I look like
Father Time. Time does not bow to you,
you must bow to time. Just write to J.
Warren Kerrigan at the Vitagraph Studio,
Hollywood, Cal.
Merrylegs. — I should say Betty Blythe
is back. I am most anxious to see her
in "Chu Chin Chow." Betty Compson
in "The Royal Oak." Yes, Metro pro-
duced "The Promise" in 1917 with Mae
Allison and Harold Lockwood. Yes, you
did right. And you sure did write.
Desmond. — That may be true, but we
ought not to judge a man's merits but his
qualifications, but by the use he makes of
them. Gloria Swanson is your sapphire
(Continued on page 89)
I Seventy-four)
No Wonder RougeNever Gave
a Natural Color!
But at last Science has solved the
baffling Secret of Nature's own ^
lovely flush /
|C1EX\ H now discloses that no known
shade of purplish red --the familiar color
of rouge — can ever duplicate Nature's
perfect artistry. No matter how skil
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In creating the wonderful new
Princess Pat Natural Tint, the great
handicap of rouge came to light! The
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gives, the color used must positively
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No wonder, then, that rouge never
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No more amazing development has
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name than the finding of Princess Pat
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ever been told than the long search
by a famous English Scientist for the
mysterious "X-Tint" which should
duplicate Nature.
Like many great discoveries, chance gave
the inspiration and a happy accident brought
about the final triumph. Chance led the
famous creator of Princess Pat Tint to ban-
teringly critici:e the tell-tale rouge upon the ,
cheeks of a feminine acquaintance. She
in turn challenged her critic to use his
vast store of knowledge to produce
something better. Thus a scientist ^
turned his hand to a task which had 'i
baffled the cosmetician since rouge „ ML
was first used.
Search was made first for
some actual, definite color,
which would simulate the
marvelous beauty of Nature's
handiwork when the cheek is
divinely mantled with soft
pink and creamy white.
Time after time the at- JM
tempt was made to perfect 1|
ordinary rouge, to so mod- ■
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that it would appear natural,
with every resource of
The Amazing Million Dollar 'Beauty Secret Had at Last 'Been Discovered
were used. Many were an improvement, but
none perfect.
Then accident stepped in, and by sheer
chance a rare and costly ingredient was used.
The result was an unknown shade of deli-
cate orange, beautiful indeed, but not the
color one would ordinarily select to match
Nature's perfect complexion. Idly enough,
this new shade was tried upon the assistant's
cheeks. And then a wonderful thing
happened. Instantly the coloring un-
derwent a subtle alteration.The orange
tint changed upon the skin !
The scientist exclaimed in amaze-
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coloring. Princess Pat Tint on the cheeks
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But
"At the Dance —
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science available, the effort proved futile.
But the scientist worked on, with his
assistant the subject for experimentation.
Casting aside red tints as impossible, hun-
dreds of different shadings of delicate color
Still the scientist was not satisfied. He
determined to make this new tint water-
proof. And wonderful success attended his
efforts. Now, one may actually enjoy surf
bathing without the slightest impairment of
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Name (Print)
Street
City
State
(Sezenty-fi-'e)
Crossroads of Conversation
Could the telephone directory in the hands of each
subscriber be revised from hour to hour, there would be
no need for the information operator. But even during
its printing and binding, thousands of changes take
place in the telephone community. New subscribers
are added to the list. Old ones move their places of
business or of residence.
Though their names are not listed on the directory,
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speech with all others in the community. To supplement
the printed page, there must be guides at the crossroads
of conversation.
Such are the information operators, selected for their
task because of quickness and accuracy, courtesy and
intelligence. At their desks, connected with the switch-
boards in central offices, they relieve the regular opera-
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telephone numbers that would otherwise impede the
rendering of service. If they are unnecessarily asked
for numbers already in the directory, service is retarded.
"Information" stands for the most complete utilization
of telephone facilities.
"BELL SYSTEM"
American Telephone and Telegraph Company
And Associated Companies
One Policy, One System, Universal Service,
and all directed toward Better Service
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Glenn Hunter — On and Off
(Continued from page 36)
a change — a private secretary, a
chauffeur, and an able-bodied man to
hold his pants.
But I was glad of it. Glenn knows
what it is to be poor and to rise in
life. So it was with Guy Plumrher
in "West of the Water Tower." And
that is one reason, when I visited
him at the studio, that he was put-
ting so much feeling into the part of
Guy. In the story Guy was at the
bottom ; he rose ; he became some-
body. And so had Glenn.
One day Glenn told me a little
story that made me hopeful. When
first he left his small native village
and came to New York to be an actor,
it was the town joke. "Goin'-to New
York to be an actor." — it was simply
too funny for anything. An Actor?
Ha-Ha ! When he walked down the
street they made fun of him, made
cat-calls, squealed from behind win-
dows, taunted him, mocked him. It
was funny, they said — Glenn Hunter
that everybody knew thinkin' he
could be an actor in New York. Then
they squealed at him again. It was
the same way with Guy in Junction
City in "West of the Water Tower."
The town "came down" on him.
Time passed, in Glenn's case . . .
he had the real spark — and now when
he goes back with his car and chauf-
feur he is the most welcome person
in town. Some of the persons who
used to give the cat-calls are now
proud to shake hands with him.
It is by reason of these things that
I think Glenn Hunter is such an
admirable selection. He has run the
gamut ; he knows what it is to be
down and he knows what it is to be
up. I know of no one on the Ameri-
can stage so fitted for the part. Glenn
has the goods.
FLORIDA
By Margaret Mayfield
Florida in February !
Where roses bloom
And lilies raise
White cups skyward,
Where violets peep
Purple-eyed behind their leaves;
And yellow oranges
Hang like golden fruit
Upon the shining-leafed trees ;
Where motors unroll
Grey ribbons in the hard sand,
A road that nature fashioned ;
Where Spain laid her iron heel
Upon the tropic soil
And left a medieval fortress,
Eternal memorial of her pride;
Where Spanish moss
Beards the trees in grey ;
Where azaleas burst into pink stars,
Against a white porch ;
Where palmettos wave their fans
In the soft breeze
This is Florida in February!
(Seventy-six)
A Lover of Life
ntinitcJ from page 1 1 )
wild-eyed girl firmlj planted on her
eous C( 'in I train.
\ moment of wild confusion, a
voile) ol explosiv< s, and Eulalie Bed
for safet) t>> tin- flies from which
she onlj ventured forth when the
janitor close. I the theater at mid-
night.
I his didn't dampen her ardor.
With persistence and the cherished
slogan, "Xever say cant.'" in her
heart, -he forged thru several minor
igements and landed on Broad-
way a- a prima donna while -till in
her teens, appearing in such favor-
ite- a- "The Wizard of < >/." "The
Time. The Place and The *iirl." and
others of this type.
Miss Jensen grinned: "I must
have been a difficult star — I thought
being temperamental a part of the
game and I wanted to play the game
tt the limit. I'm a fighter — 1 like the
battle, ami there were some spectacu-
lar encounters!" She laughed with
relish at the memory.
She comes from a colorful line.
There are fascinating strains of
French, Spanish and Italian in her
veins and romance and adventure
ran riot among her ancestors. They
have left their trace on her. One
can readily picture her with a rose
between her lips dancing the heart
out of the victorious matador under
flaming Spanish skies, or mounted
en a white charger leading her down-
trodden people to glory!
Sorrow has touched this woman
too She say- she was left dumb for
a time and the song and -mile died
from her heart. But her spirit
couldn't be downed. Leah Beard
senl for her to come to Hollywood
and in her work she has found con-
tentment.
"It takes heartaches, disappoint-
ments and bitter tears to teach one
how to act. to understand another
woman's emotional reactions," said
Miss Jensen. "I do not say that an
actress must pass thru, person-
ally, the exact experiences she por-
trays in her roles. For instance, she
doe- not have to commit murder in
order to enact such a scene. But
having touched tragic depths create-
in her a perfect comprehension. No
woman has the right to grow hard —
no matter what her griefs.
"I love my work, I love my people
— tho-e who speak my language. I
Jove life — its struggles, its successe-.
its failure-. It gives us tears but it
also, gives us smiles.
'There it is " she looked at me
hopelessly. "You see. I'm destined
to play many parts!*'
Anyway, that is Eulalie Jensen —
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(Seventy-seven )
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Our Boulevardier Steps Out
(Continued from page 72)
at least one hundred dollars in time
lost. On the other hand, Mary Pick-
ford and Douglas Fairbanks have
adopted a policy of letting in every-
one who wants to see the place.
Jean Hersholt claims the distinc-
tion of being the champion high-and-
low fighter of the world. In Eric
von Stroheim's "Greed," he staged a
fisticuff three hundred and thirty-
seven feet below sea level on the
famous alkali skin in Death Valley.
In a former production, he had a
similar scene on Mount Hood,
twelve thousand. In both instances
he collapsed from the result of the
abnormal atmosphere.
Mae Marsh has arrived in Holly-
wood to be in "Daddies" at the War-
ner Brothers studio under the direc-
tion of William Seitor. For company
she has her husband and baby. Miss
Marsh has starred away from the
film colony and has taken a house on
West Twenty-eighth Street, several
miles away from the rest of 'em. She
bad a grand reception, her last
Griffith picture, "The White Rose,"
having broken all down-town house
records for Sid Graumann.
Ernst Lubitsch has assembled a
somewhat remarkable cast for his
second American picture now being
made at Warner Brothers — "The
Marriage Circle." Among others are
Florence Vidor, Marie Prevost,
Adolphe Menjou, Creighton Hale.
Monte Blue, Harry Meyers. It is the
gossip of Hollywood that Marie
Prevost is due to be a great actress
when Lubitsch gets thru with her.
She plays the part of a vamp of a
type new to the screen. The German
director considers her to be one of
the most promising actresses he has
seen in America.
Henry Walthall has cancelled his
plans to go back to the stage in order
to take the part of the father in the
next Booth Tarkington story to be
screened by First National, "Old
Fathers and Young Sons." The
cast includes little Ben Alexander.
The press-agent sorrowfully admits
he didn't mean quite what he said
when he gave out Baby Peggy's
salary as a million a year. It seems
that Sol Lesser has agreed to spend a
million a year on her productions.
(Continued on page 86)
(Seventy-eight)
New Books In Brief Review
IN modern literature the Problem is the thing. Hie
plot wear) author, laboring overtime, seeks sedulous!)
until he finds something ne« to worr) himself and his
public about. Having painted in sad hues various pun
of married life in his last novel, "Brass," Charles G
rris, nun- with equal gloom u> the lot of the working
woman in "Bread" (£. r. Dutton & Company). Lasl
yeai \ S. M. Hutchinson in "This Freedom" forced his
heroine to undergo all -on- of unpleasant vicissitudes in
an effort to prove that marriage and office work do not
matt' well. Mr. Norris in an utterly dissimilar novel has
tlit- -ami' end m view. But after all. arc not these two
authors bothering themselves ami us with something
which is no problem at all? The majorit) of women turn
gladly, willingly from office work to married life. The
comparative freedom of a home is vastly preferre'd b)
most women to tin- monotonous routine of an office,
rhere an- not man) secretaries like Jeannette Sturgis
who get any thrills over business dictation or typewriter
keys. Not often do we find a woman sticking to the hum-
drum existence of an office when a dominating lover
enters her life. There may he. then probably are such
resolute spinsters who loudly contemn the holy state —
but our guess i- that ninety-nine out of every hundred
are only whistling to keep up their courage.
Mr. Norris tells his story in rather a colloquial style,
not altogether pleasing. The early
part of the novel drag- wofully.
evoking yawns rather than interest.
Jeannette Sturgis — brave and inde-
pendent, efficient and headstrong —
i- remarkably well portrayed, as are
her mother, the little music teacher ;
Martin Devlin. Jeannette's conquer-
ing husband, vulgar and rough, but
virile and somehow splendid.
There is a certain power in his
description of Jeannette's love for
Martin and her struggle to stifle
that love because it interferes with
her passion for independence.
Dramatic intensity, too. in the
tragic end when bereft of every-
thing but her once prized independ-
ence, she finds herself alone in the
old-maidish flat she had chosen to take
the place of life with the careless,
spendthrift Martin. The poignant
memory of that scene still lingers.
Mr. Xorris runs to monosyllabic
titles. In previous novels he has
given us "Brass" and "Salt." Now
we have "Bread." One wonders how long our creator of
terse titles can keep this up. At this rate we can expect
next year a novel by Mr. Xorris, entitled, "Dough," deal-
ing with the unsuccessful efforts of a poor man to amas-
great wealth.
"The story of the first and second Hungarian revolutions
of l°dS-19 is told in all the details of its terror and
debauchery in a remarkable book entitled "An Outlaw's
Diary" (Robert M. McBride and Company). Its author,
Cecile Tormay. is a novelist of international fame. Her
book is not merely the diary of an outlaw during a
national upheaval, it is the record of a nation plunged into
suffering and sorrow of an almost overwhelming
description.
Miss Tormay wrote her thrilling record of the progress
of the revolution day by day and week by week, secreting
het manuscript wherevei he could, and with th< tl
oi death hanging over I
writing discovered, Proscribed b) revolutionar) h<
who had installed a "t< hi
she fled from the parental rool the death of hei
mother one ol man) innocenl victims of the revolution
taking refuge in lonel) castles, provincial villas and
rustic hovels. Hie secreted fragments of hei diar) be
tween the p hook-, under the i
houses, up chimneys, in of cellars, behind furni
tute and huried m the ground. It has survived in it- in-
tegrity almost miraculously to serve as a memento when
the graves of the victims il describes are forgotten, when
the grass ha- grown over the gallows' pit-, and when the
writings in blood and bullet- have disappeared from the
walls of the torture chambers.
T
UNCHARTED
By Jeanne Oldfield Potter
There is a land of gold
Rimmed by a sea of light,
Never a day dawns cold.
Lo%v hang the stars at night;
Even the young are wise,
liven the old arc fair.
Time knows not where it lies,
Love has its dwelling there.
Jade to the rainbozc sea
Falls its beloved shore,
Land that is calling me,
Land that my Youth forswore;
How shall we find the place
Close to the sun's warm heart?
I who have known its grace,
Dear, I have lost the chart.
o certain people "The Future of Painting," by Willard
Huntington Wright (Ilucbsch), will seem the most im-
portant critical discussion of that art since the Trattato
della Pittura, despite the intervention between the great
Leonardo of Taine's lectures on Art and Reinach's AjkjIIo.
But these later works estimate a glorious past. Mr.
Wright defines an epoch. The whole subject of modern
art is made clear. Modern art, to be sure, is an out-
growth of painting, hut only in the sense that those who
practise it have been painters.
Modern art is really the new art of
color. With painting, as we have
always understood the term and a-
the academicians understand it. the
new art has nothing to do. Hence
the controversy. It was trying to
affect the optics with sharp, clean
color values, not to suggest recog-
nizable objects taking position in
space. But recently it has found its
true medium — namely, light. Light
is pure color.
But if the medium has been dis-
covered, machines for projecting it-
sharp effects remain to be perfected.
W'allace-R i mington's color-organ
and Thomas Wilfred's clavilux are
far from satisfactory. Furthermore,
the new art will conform to the old
standards that have been the same
thru the ages. Enlarging his field of
definition. Mr. Wright goes to the
Chinese for a statement of these
-tandards.
It must in honesty be admitted that one approaches a
book by Upton Sinclair with a certain degree of preju-
dice. He is an inveterate digger-up ranees He
has generally a chip on his shoulder. His hand is more
or less against every man because he has brought himself
to believe that every man's hand is against him. It would
come almost as a shock to find Mr. Sinclair praising any-
one or anything which i- held in good esteem by normal
and kindly disposed people.
All this is by way of preamble to the few remark- we
shall venture to make on his latest hook "The Goose
p." Of course it is an expose, this time of American
colleges and universities. It is. perhaps, not without
significance that he is his own publisher, which suggests
that either he could not get another publisher to take his
book or that he would not entrust it to another. Anyhow
(Continued on page 99)
(Seventy-nine)
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Scaramouche
(Continued from page 32)
the poor people were notoriously no
swordsmen, the aristocrat would re-
turn one fine morning as did the
Marquis de la Tour d'Azyr, smirk,
and say : "Monsieur le president, my
excuses for being late. With them T
bring those of Deputy Lagron. Our
debate of yesterday has been settled
. . . permanently!"
So the president. Monsieur le Cha-
pelier, and the hulking Danton. went
rorth to find a master sword, and the
sword they sought was that of one
Andre Louis, alias Andre-Louis
Moreau, assistant fencing-teacher in
the Rue du Hazard. Chance had
brought Andre here, and chance had
made him a - swordsman above all
others. So when Chapelier, whom he
remembered from Rennes, offered
him the deputyship of the defunct
Lagron, with the proviso that he
should put Monsieur le Marquis de
la Tour d'Azyr under ground, he
accepted with a will.
So it came about that Scaramouche
took his seat in the assembly, made
his speech, and the first day was chal-
lenged to a duel by no less a person
than the Chevalier de Chabrillane !
The next day bright and early,
the erstwhile Scaramouche brought
his regrets for lateness, and ''likewise
those of Monsieur de Chabrillane.
Our debate of yesterday has been
settled" . . . He smiled at Monsieur
the Marquis, ". . . permanently!"
The nobles gasped. The gallery
cheered. Moreau was the man of
the hour ; Moreau was the idol of the
people.
Presently it befell Monsieur le
Marquis to visit Gavrillac to seek to
soften the heart of Aline. Also it
came to pass that Monsieur de Ker-
cadiou, reading the official paper of
the nobility, came to the item that
one Andre-Louis Moreau had killed
cue and wounded four nobles in a-
many duels and days. He burst
wildly into the room, where Mon-
sieur le Marquis was being assured
that he need no longer seek favor
from Aline.
Monsieur de Kercadiou was a
choleric soul, and he raved : "And I
pray that Andre may soon meet a
sword that will do to him as he has
done to others ! The scoundrel !"
Monsieur le Marquis bowed.
"Your wish will doubtless come true.
Tomorrow, we meet!"
Monsieur de Kercadiou began to
feel very sick. But Aline hastened
10 stop the Marquis as he strode thru
the hall. She would forget every-
thing, she cried, she would marry
him, if he would forego his duel with
Andre. But scoundrel or no, he held
(Eighty)
honor highest, and sadly shook his
bead.
Next morning, Andrews door
opened to Madame de Plougastel,
w ho begged him to accept sei
with the King of \ti->t i ia She had,
she faltered, known Vndre's mother,
l'nt he only shrugged his shoulders
and prepared to go Hardly had she
gone, when Aline appeared. She
prayed him to forsake the duel, bul
he, thinking her concern was for the
Marquis, thrust her off and hurried
away His cab far outstripped the
coach o\ Mine, de Plougastel, which
Aline had commandeered to stop the
duel, and when tin- two women ar-
d. an iron door barred the way.
From within came the tinkle and
clang of crossed rapiers, the thud of
feet, a mutter of voices, then dead
silence. The iron door opened and
out of it staggered the Marquis, his
sleeve in ribbons, his arm reddening
slowly from a slight wound. With a
cry that Andre was dead. Aline
fainted into his arms.
\nd this was the tableau that
greeted Scaramouche when he
emerged unhurt and enraged at hav-
ing merely wounded the Marquis in-
stead of killing him. He stared, -pun
on his heel with an oath, and that
night accepted service in the prov-
inces for the Commune.
The sands of time sifted fast :
Saint Antoine was a roar of ruffians,
a rattle of knives ; from the South
came the men of Marseilles, dirty,
dusty, dragging cannon, singing the
new song of Rouget de Lisle. Paris
rose on her oppressors, the streets
ran black with blood, the Swiss guard
died on the palace stair; the nobles
died on the palace stair; and out of
a mass of crumpled bodies crawled
Monsieur le Marquis, beaten, broken,
bleeding, but a fighting man to the
end. He staggered into the bouse of
Madame de Plougastel and fell faint-
ing at the feet of Aline. The women
were wild with fear. They bad at-
tempted to flee the city, and had
found the barriers closed. They had
sent their servant for succour, and
be lay dead in a ditch. A mile away
were the mob, killing, burning, back-
ing, mutilating, singing, bearing
beads on pikes, the dregs of Paris,
dancing La Carmagnole!
In Gavrillac. a stranger, flourish-
ing the tricolor cockade, galloped into
the inn yard, flung himself off his
horse and strode toward the fire.
Ouintin de Kercadiou spun about to
meet him.
"Andre! Aline and Madame de
Plougastel are in Paris ! You must
save them."
"Aline, yes. But Mme. de Plou-
Would You Think from this Photo
that I Ever Weighed 200 Lbs?
I
li\ JnSH \ l'i WR081 I! \"> UM
Bl > 0 M.nw IVnii.i I
HAD in. I about all tlir tfvoirjupoil I
Could c.irrv aioundwhcnl til I lir.ucl
etting dun to music, I uo only 5
ft. .uul 5 in. in height anil not OJ Lit: c ti.imr,
and 191 lbs. made me positively
as you can well believe. It mi beginning t<>
tell on my arches | I bad difficulty in walking
any distance. Dancing became out c4 the ques-
tion, and I bad become aregulai itty-at-home
when a frinul prevailed on me to try the
much-talked-of reducing records.
"The first session with this method was a
complete surprise. I had expected it would
be something of a bore — the things I had
tried in the past had all proved so. Hut the
movements that first reducing record con-
tained, the novel Commands and counts, and
the sparkling musical accompaniment made
it extremely interesting. I used it for over a
week for the sheer fun of doing it. I felt
splendid after each day's 'lesson.* Even then
I scarcely took the idea seriously. Surely, this
new form of play could not be affecting my
huge superfluity of flesh; it must have been
ten or twelve days later that I weighed myself.
"I had lost eight pounds !
"No one had to urge me after that ! I se-
cured all five of the records and settled down
in earnest to reduce. A week later the same
scale said 174 lbs. Another week, only showed
a six pound loss; but the week following I
had taken off nine more pounds.
"As I progressed in the lessons I found
them growing more and more interesting,
and each new and unique movement began
improving my proportions in new places.
The over-fleshiness at my neck was a condi-
tion I never dreamed could be affected by
these methods, but it was ; even the roll of
fat that had foreshadowed a double-chin dis-
appeared in time.
"In six weeks I was dancing, golfing and
'going* as of yore. I got another saddle
horse. I started wearing clothes which did
not have to sacrifice all style in an effort to
conceal. And it is quite needless to say I
was delighted and elated. At the end of nine
weeks I weighed exactly 138 lbs. — a reduc-
tion of fifty-three pounds. I submit
my experience in gratitude for what
Wallace's wonderful records have
done for me. I am humbled by the
recollection of how I once fairly
scoffed at the enthusiasm of others in
what I deemed at the time a mere fad.
I shudder to think that I might have re-
mained indifferent to this method. Only a
woman who has been over-whelmingly fleshly
can appreciate what my new appearance and
feelings mean to me. As for those who need
reduce but a few pounds to make their
figures what they would like them to be,
it is pitiful to think that they do not
know this easy way — or perhaps do not be-
lieve it." ->,
What more can be said of reducing ? Mrs.
Bayliss' start was made with the full first
lesson record which Wallace sent her with-
out cost or obligation. The same offer is
open to you. If you, too, do not see remark-
able results in only a few days, don't keep
the record, and don't pay Wallace anything.
Why not use the coupon now ?
WALLACE. 630S. Wabash Ave.. Chicago (251)
Please'sendme FREE and POSTPAID for 5 days'
free trial the original Wallace Reducing Record for
my first'reducim: lesson. If I am not perfectly satis-
fied with the results. I will return your record and will
□either owe you one cent nor be obligated in any way.
Name
Address „..
City.,
.State..
( Eighty-one )
<$Are your nails
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gastel lias connections with Austria.
I can do nothing for her!"
"But Andre! Andre!" The old
man was nearly frantic. "She is
your mother !"
Paris roared closer now. Aline
heard them, Andre's mother heard
them, the Marquis heard them. The
door rattled, and as it flung open,
Aline was in Andre's arms. The
Marquis' pistol flashed in his hand,
and Andre's was out of his sleeve, as
Madame de Plougastel flung herself
between them. "He ... he is your
son," she gasped to the Marquis.
And after that there is much to be
told of the fortunes of Andre-Louis
Moreau, of how he and the two wo-
men fled thru the city gates, cheered
by the frantic admirers of Moreau.
of how they settled down happily
where the scars of revolution did not
show ; and of a certain Monsieur de
la Tour d'Azyr, who disdaining
safety with the son he had so perse-
cuted, went out into the streets with
his drawn sword, and died as he
would have wished . . . fighting.
Questions and Answers
{Continued from page 19)
Talmadge is easily the Croesus. She
is wealthy in her own right ; but her
husband, Joseph Schenck, is an
enormously rich man. He is the
owner of the big Palisades Park in
Xew Jersey. He is one of the big
owners in Metro, a heavy owner in
the West Coast Theater Company.
In addition to which he is one of the
owners of the Music Box Revue in
New York, one of the dominating
figures in the California banking
world and an oil king. To Norma
Talmadge, a hundred thousand dol-
lars is small change.
The Question : Who is the most
beautiful woman on the screen?
The Answer: This is entirely a
matter of individual opinion. Per-
sonally I think the choice lies be-
tween Florence Yidor and Madge
Bellamy. Madge Bellamy is more
beautiful off the screen than on; the
reverse is true of Miss Yidor.
The Question: Who is most
temperamental ?
The Answer: Is it Pola or Mabel
Normand or Corinne Griffith? Well,
it's this way : Mabel is the most un-
dependable human being that ever
lived. A director doesn't mean any
more in her life than any impulsive
little whim she happens to collide
with. That's Mabel. Pola is dif-
ferent ; she starts cvclones when
things dont go to please her. Corinne
Griffith is very young ; very sensitive
and very determined to have her
own way — an appalling combination.
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STATEMENT OF THE OWNERSHIP, MANAGE-
MENT, CIRCULATION, ETC.. REQUIRED BY THE
ACT OF CONGRESS OF AUGUST 24. 1!»12, of
CLASSIC published MONTHLY at 175 DUFFIELD
ST., BROOKLYN, N. Y., for OCTOBER 1st, 1923. State
of NEW YORK, County of KINGS. Before me. a
NOTARY PUBLIC in and for the State and County
aforesaid, personally appeared EUGENE V. BREWSTER,
who, having been duly sworn according to law. de-
poses and says that he is the PRESIDENT of the
CLASSIC and that the following is, to the best of his
knowledge and belief, a true statement of the ownership,
management (and if a daily paper the circulation), etc.,
of the aforesaid publication for the date shown in the
above caption, required by the Act of August 24, 1912.
embodied in section 443. Postal Laws and Regulations,
printed on the reverse of this form, to wit: 1. That the
names and addresses of the publisher, editor, managing;
editor, and business managers are: Publisher. BREW-
STER PUBLICATIONS, INC.. 175 DUFFIELD ST.
BROOKLYN, N. Y. Editor. SUSAN ELIZABETH
BRADY. 1T5 DUFFIELD ST.. BROOKLYN. N. Y.
Managing- Editor. ADELE WHITELY FLETCHER.
175 DT'FEIELD ST., BROOKLYN. N. Y. Business
Manager, GUY L. HARRINGTON, 175 DUFFIELD ST..
BROOKLYN, N. Y. 2. That the owners are: (Give
names and addresses of individual owners, or, if a cor-
poration, give its name and the names and addresses of
stockholders owning or holding 1 per cent, or more of
the total amount of stock.) EUGENE V. BREWSTER.
175 DUFFIELD ST.. BROOKLYN*. N. Y. CARLE-
TON E. BREWSTER. BAYSHORE. LONG ISLAND,
N. Y. 3. That the known bondholders, mortgagees, and
other security holders owning or holding 1 per cent, or
more of total amount, of bonds, mortgages, or other
securities are: (If there are none, so state.) NONE.
4. That the two paragraphs next above, giving the names
of the owners, stockholders, and security holders, if
any. contain not. only the list of stockholders and se-
curity holders as they appear upon the books of the
company but also, hi cases where the stockholder or
security holder appears upon the books of the company
as trustee or in any other fiduciary relation, the names
of the person or corporation for whom such trustee is
acting, is given ; also that the said two paragraphs
contain statements embracing affiant's full knowledge
and belief as to the circumstances and conditions under
which stockholders and security holders who do not
appear upon the books of the company as trustees, hold
stock and securities in a capacity other than that of a
bona fide owner; and this affiant has no reason to
believe that any other person, association, or corpora-
tion has any interest direct or indirect in the said stock,
bonds, or other securities than as so stated by him. 5.
That the average number of copies of each issue of this
publication sold or distributed thru the mails or other-
wise, to paid subscribers during the six months preced-
ing the date shown above is . . . (This information is
required from daily publications only.) EUGENE V.
BREWSTER, (Signature of editor, publisher, business
manager or owner.) Sworn to and subscribed before me
this 25th day of SEPTEMBER. 1923. E. M. HEINE-
MANN. (My commission expires MARCH 30th, 1924.)
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(Eighty two )
What Are You Doing About
Your Superfluous Hair?
NOWADAYS no attractive utrl will allow ■ Uncle
id hair In hlfiulsli Iiit oiIi.twI-k lovel) ■!>■
iUlm> .mil refined woman the
■arid ot« Is re wot lug hei superfluous hair b«oause li
[[-•in h. i churn)
hate In mil v ami
■ml thl ii .in ur1> growth of embarrass
superfluous* hi
■ i Ul milady of superfluous hair
rrault In stronger growth, be-
nourltth-
mrnt to the hair has not be«i
leading the follicles
to produce a more luxuriant
ust whrre It Isn't
S mount of purely
I application can i re-
mit Increasing and coarser
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Foreign Films
(Continued from pagt 27)
ENGLAND
If England has yielded t<> the his
torical trend, it has done so less from
necessity than from conviction. If in
i !ei many histor) is a refuge, in I
land ii is an opportunity, and th(
British producers have withdrawn t'>
the past because for the momenl il
appears to present an artistic appeal
superior to the lure of contemporary
events. Tho abiding strictly by the
historical (.■(invention in such a recent
film as "The Virgin Queen," a
effective departure from the rule of
uniformity is made in such a film as
"Don Quixote," in which legend is
given precedence to fact and in which
the grotesque adventures of Spain's
amiable hero are visualized to a
world which knew him only thru
translation. The task of presenting
Sancho Panza, Don Quixote's faith-
ful servitor, in a language intelligible
to all nations has been entrusted to
( ieorge Robey. England's great char-
acter actor, who will make his first
screen appearance in this picture,
under the patronage of the Stoll
Film Company. Robey has until now
remained one of the few great artists
with a world reputation who has
evaded the lure c.f the films and his
capture is an event for the picture
world.
Another departure, in which the
historical yields to this aesthetic, is
the Stoll production of "The Indian
Love Lyrics," the immortal songs
now familiar the world over. ( )n
this slender golden thread is woven
a fabric of romance and beauty pro-
viding a gorgeous mantle for an aery
form, the screen recreating the pathos
and tragedy of the poems, and re-
vealing poetry to be as fertile a field
for the film as art.
RUSSIA
A Russian film, actually produced
in Russia, is a rare event, but if "The
Disinherited" is an example of what
can be done in the heart of that
enigmatic country, it is a pity that
more pictures are not forthcoming.
The story itself is Danish, founded
on the novel of A. Madelung, but the
incidents dealt with are a dramatic
phase of Russian life in the days of the
Czar. The picture was made by C. P.
Dreyer. the Swedish producer, and
among the artists appearing in the
principal roles are Mme. Piechowska,
of the Korcha Theater. Moscow ; V.
Gaidaroff and R. Boleslawsky, of the
Stanislawsky Theater: and J. Duvan-
Torzoff. of the Drama Theater of
Kiev. The adventure involved in
the making of the picture makes al-
most as interesting a narrative as the
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I Christmas Cards from the Stars! i
■ In
J
A
N
U
A
R
D
D
O SCREEN STARS put anything of their personality g
into their season's greetings? j'
O THEY DESIGN lovely cards themselves and com- H
pose their own poetic messages? j
In
1 A SPREAD OF SEVERAL PAGES of reproductions of the J
jj -^"*- cards that silversheet actors send each year in jj
jj greeting will appear in the January Motion Pic- [
I ture Magazine. They will give you as much plea- |
g sure as tho you had received a personal card from your (
H favorite star. =
J
A
N
U
A
R
Y I
I Y 1
| Motion Picture Magazine |
| Wally's Last Word |
AN EXCLUSIVE STORY by Charles A. Post, Wally's best friend, in J
whose arms he died. It is not of the happy-go-lucky W ally , but of =
the Wallace Reid with whom Post tramped the hills by day making the g
fight; of the Wallace Reid who found only emptiness in fame and jj
1 fortune. g
1 'T^his issue is full OF Christmas features as intensely interest- (
A ing, as intriguing as any gaily wrapped Christmas package. Among jj
its surprises are: the first instalment of "Thistledown," a six-part serial, g
1 by Dana Gatlin ; an unusually beautiful folio of cinema stars; gossip, |
( more inti?nate and chatty than ever, by the Editor, and articles in plenty. §§
IllllllllllllllllllllllllllllllllllilllilllllW
film itself. As the story deals with
the tyrannical methods of the Czar,
the Soviet authorities granted per-
mission to the producer to film the
actual localities mentioned in the
novel, thinking that the picture would
be excellent propaganda for the
Soviets. However, when the picture
was almost finished, the authorities
observed that the producer was more
interested in art than in propaganda,
that the tragedy was being presented
without any attempt to spoil it by in-
truding politics. They thereupon
withdrew permission for further
filming. But by then the better part
of the picture had already been made,
and the negative was slipped out of
the country before the Soviets could
lay hands on it, the few remaining
scenes being taken in a Warsaw
studio.
"The Disinherited" reveals the
ugly machinery of tyranny, in which,
whenever the existence of that
tyranny is being threatened by en-
lightening influences, the lowest and
meanest instincts of hatred and
brutality are deliberately aroused by
the dark influences serving the tyrant,
so that the cause of liberty is for-
gotten in the exercise of these
hatreds and brutalities. Despite the
intenseness of the emotions which
dominate the story, the acting is
characterized by a masterly restraint
and a well-marked tempo not often
seen in other European productions,
and those who have had the oppor-
tunity of estimating the talent of
Russian actors thru the Stanislawsky
troupe and the Balieff artists on their
visit to America will have cause,
after seeing the superb workmanship
of their countrymen in "The Disin-
herited," to regret that the Russians
have thus far played such a minor
role in the advancement of screen art.
The Powers Behind the Screen
(Continued from page 20)
had been back in the old nickelodeon
days, the days when he plead with
the General Film for a chance — an
exhibitor.
He was at this game until the sum-
mer of 1921 when he realized that
there were more theater seats in the
country than there were people will-
ing to fill them.
Exhibitors, too, had begun to ob-
ject violently to competition in their
end of the game from a man they
thought should devote his talents to
producing and distribution. Grace-
fully, Zukor yielded. He began sell-
ing theaters that had ceased to pay.
The exhibitors' own organization,
the Motion Picture Theater Owners
of America, representing thousands
(Eighty-four)
of theaters in fort) states, next
tui netl its attention to Firsl National
and tlii n its exe< utive officei s was in
the process of delivering it^cli ol a
number of disagreeable comments
when the picture world, abruptly,
forgot all this familj bickering.
■i time the) had eyes and ears
nothing save the Federal Trade Com-
mission's bolt from the blur.
With a suddenness that startled
Broadway, the newspapers printed
tlu' Commission's charge that the Fa-
mous Players- 1. asky Corporation,
Paramount, Kdolpli Zukor, ci >.-/.. bad
been operating in restraint of trade
and violating the Sherman Anti-
Tmsl 1 aw 1 rearings on this charge
took place this year, but at the time
the effect of all this was in turn as
nothing compared to the fear of cen-
sorship which grew slowly, but sure-
ly so surely that soon it over
shadowed all other considerations.
More than any other business of
like proportions the theater is de-
pendent upon the whim, the caprice
Of the public, and censorship
threatened box-office revenues.
The impetus which had broughl it
to such amazing and paralyzing pro-
portions, of course, had its source in
a real complaint. Fly-by-night pro-
ducers had offered the public films
with an indefensible moral tone. and.
as a result, the whole industry had to
Suffer, but the real object ion to cen-
sorship is not the obvious one.
\s has been made clear before, the
obvious objections can be sustained
and have been, times without num-
ber. Censorship is sectional and
local. Its ridiculous whimsies, bow-
ever, are practised on the finished
film.
What the menace of it did to the
film in the process of manufacture
or conception — this is what kept the
officials of famous. First National,
Metro, Universal, Fox, Pathe, this is
what kept Zukor, Laemmle, Rowland,
De Mille. Brunet and Kane awake
nights. This is what mattered.
Because of it. story writers, direc-
tors and actors were in the grip of a
deadly fear. Tt bad them by the
throat. It paralyzed their initiative.
It kept them from doing new things,
from attempting anything unusual,
however innocent, for fear of what
some wild duck of morality, in
charge of some backwoods' board of
censorship, might think. Naturally,
they stuck to the old stand-bys.
But the public was wearying of
the old stand-bys. It knew them by
heart. It could guess what was com-
ing. Uneducated, as yet, to the point
of holding the censor ami censorship
responsible, it began, more and more,
to stay away from the theater.
(Eighty-five)
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When I Come Back
{Continued from page 23)
do not forget that. After all, who is
this Valentino that he should lord it
over others?
And so I do not let my head be
turned. And that is harder than you
think ... so many letters I get . . .
such crowds came to watch us dance
. . . such mobs of people staring . . .
but I cannot forget that once, I was
nobody.
Valentino smiles once more and
when lie smiles, it is like the sun
coming out. Tliis man is proper stuff.
He lias the wisdom of lessons
learned, the humanity of hardships
endured, the philosophy that comes
of experienced facts, and the intelli-
gence— far more intelligence than he
is popularly credited with — formed
of those other attributes.
I shall be again the romantic
lover. It is what I can do best and it
is what most people want. I do not
mean the matinee-idol type. Heaven
forbid ! But romance and drama are
what most lives lack and I shall try
to supply it. And above all I shall
try to be human, understandable. I
shall play characters that may be
made comprehensible to everyone. I
want my own ability tested. I want
to act life, to create characters, to
move an audience, not just to pose.
I have kept my ear to the ground, I
have studied, I have consulted hun-
dreds, and best of all I have thought,
and now I believe I know the thing
that universally appeals to people. I
promise to give it to them.
Our Boulevardier Steps Out
(Continued from page 78)
She is to get a percentage. The
European papers have raged at the
report that this child was to get this
fortune.
* * *
Frank Mayo is to take the role in
"Wild Oranges" that James Kirk-
wood had to vacate when a fall from
his horse so nearly killed him. I
understand that Kirkwood and Lila
Lee, his wife, are to appear in the
same picture very soon at the Thomas
H. Ince studio.
Patsy Ruth Miller is an indignant
young lady. She returned the other
day from San Francisco where she
had been working in Victor Sea-
strom's "The Judge and the Woman"
and looked forward to a vacation.
Her train got in at seven ; at ten she
was on the way back to San Fran-
cisco to appear with Douglas Mac-
Lean in "The Yankee Consul."
Dougla
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389 FIFTH AV&BFF7. 5212
(Eighty-six)
A Happy Young Man
mtinued from /•■
nan Then Mi I inne
walked a< ross the I '\\>t like
that. .>.•". \f i
that was, then and then, the total
ipse, the compU ti emotional
nihilation of the whole-hearted
lan 1 It tho the \
the theater v
under his feet He felt as tho the
and all the stars had fallen
to upon his head. He couldn't walk
\cr\ steadily and he dared not at-
tempt v I more than one
syllable ">• » tl e '" is what
tid to his arrested heart.
They planned, however, that de-
the falling of the --even heavens
upon them, they would not marry
until each one. individually, had
made good. Shortly thereafter Mr.
Limt "did" Booth Tarkington's
"Clarence," which put him into Class
1 A. and very shortly after that Miss
Fontanne did "Dulcy," which made
them about even as to dramatic s<
They married . . . and they ex-
pect to live happily ever after!
Mr. Lunt admitted with a slight
upraising of his volatile eyebrows
that he knows there are marriages
which do not last, happiness that un-
happily deteriorates with time and
wear, "hut." he says, "we have such.
a wonderful time together!"
Also, they have a sense of humor.
More, they have two senses of
humor, which you will know without
being told if you were fortunate
enough to see "Clarence" and
"Dulcy." A sense of humor is the
best ballast I know for matrimonial
success and two senses of humor
ought to be a ninety-nine-year lease
of conjugal contentment.
What they would like to do. this
happy twain, is to play together on the
stage and perhaps, too. on the
screen. They recently made a pic-
ture together and enjoyed doing it
so enormously that Mr. Lunt be-
lieves the Public will enjoy it, too.
As a matter of fact, he rather be-
lieves that the Public likes to see
husband and wife playing together
rather than the reverse and he would
appreciate some points of view along
this line.
Taking him by and large. Mr. Lunt
i^- a very delightful young man. He
has a trace of "Clarence.'' an atmos-
phere of the West he comes from, a
necessary dash of Xew York sophis-
tication and the theater, and an at-
traction which is completely unique.
One could not classify him with
any of the popular favorites. He is
no kin of Valentino nor of Barthel-
mess, no shade of Charlie Ray or
Douglas Fairbanks. He is essen-
tially and entirely Alfred Lunt.
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{Continued from page 62)
an interesting aspect. I began to
sympathize.
There is no denying that the pres-
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at least it will keep them in practice.
Love and let love — take its course.
Why Do People Get Divorces?
{Continued from page 63)
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IDYS M \n '■> think thai
your favoi ite, Lew iv in
"Nellie, the Beautiful Cloak M
You just wait. You might write to Mrs.
Wallace Reid at BevnK Hill-,, Los
Angeles, Cal. So you would like to see
of me. How about the one up
above.
Daisy Face Kennedy. — So you think
I am a model young man. Well I donl
drink, smoke or swear, but I do pi
to be over thirty-eight. Robert Agnew is
twenty- four. Marie Prevo.st is twenty-
five and she is playing in "The Wanters."
Douglas Fairbanks, Jr. is playing in
"Stephen Steps Out."
A Country Lass. — And so it is. Hap-
piness is the shadow of man ; remembrance
of it follows him; hope of it precedes
him. No, Carlyle Blackwell is only
thirty-five and he is not married right
now. Betty Compson in "The Royal
Oak" taken in England, and she is twenty-
six.
Marie Antoinette. — I am glad you
like the Classic. Well it is so -cold here
that words freeze in your mouth. Some-
times the sidewalks are covered with con-
versations and we have to take them in
the house and put them in the oven to
thaw before we can tell what we are talk-
ing about. They say that down in Texas
it is now so hot that they have to feed the
hens cracked ice to prevent them laying
hard-boiled eggs. That's a nifty! Yes,
Reginal Denny played in "The Abysmal
Brute." Bebe Daniels in twenty-two.
Xiles Welch is married to Dell Boone.
Dont mention it.
Fii.i.um Fan. — So am I. No, I am not
Freddie nor Percy of the Hall room boys.
I haven't any such fancy name. Comvay
Tearle is forty-three. Yes, married to
Adele Rowland.
Winona. — However rare true love, true
friendship is rarer. Yes, Ramon Novarro
played in "Rupert of Hentzau." Herbert
Rawlinson is thirty-eight. Kenneth Har-
lan is at the Schulberg Productions.
3800 Mission Road, Los Angeles, Cal.
Huntley Gordon in "Blue Beard's Eighth
Wife."
Olive E. — So Constance Talmadge is
your favorite. Bebe Daniels is five feet
five.
Helene B. O. B. — Coming events cast
their shadows before us. Yes, I can stand
it, fire away. Rodolph Valentino has
signed with the Ritz-Carlton Productions,
and I dont believe his first picture has
been selected. See you later.
Jacqueline N. — Thanks for the in-
formation. No, R. C. stands for Robert-
son Cole and not Ritz Carlton. J. W'ar-
rcn Kerrigan in "The Man From Brod-
ney" for Vitagraph. No, Theda Bara has
never played in the "Hunchback of Notre
Dame." What are you trying to do, tease
your poor old Answer Man. Francis
Bushman and his charming wife, Beverly
Bayne, in "Under Suspicion." That's the
way it goes sometimes.
Virginia. — Well a thought entering the
mind will be welcomed or banished — ac-
cording to the character of the mind. Tom
Moore is playing in "Big Brother." Yes,
EARLE E. LIEDEHMAN
as he Is to-day
Call the Undertaker!
What's the use of living when you're only
half alive? You get up in the morning and
you don't have the pep of a jelly Ms!
work is a burden and life has ceased to give
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and nobody carts whether you do oi
What's the use. fellows? Call the Undertaker,
for you're dead and you don't know it.
A New Life
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I have a system that knocks those .
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th it will make your old ribs strain with the
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arms and legs of yours to a real man's size.
Vou will have the strength and vitality to do
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Send for My New 64-Page Eook
"MUSCULAR DEVELOPMENT"
It contains forty-three full-page photograph^ of
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This will not obligate you at all. but fi
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Send today — right now. before you turn this page.
EARLE E. LIEDERMAN
Dept. 18 12, 30S Broadway. NewYork City
EARLE E. LIEDERMAN.
Dept. 1812, 305 Broadway, New York City
Dear Sir: — I enclose herewlih 10 cents for which
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pjrt whatever, a copy of your latest book, "Mus-
cular Development." (Please write or print plainly.)
Name. . .
Address.
Citv
(Eighty-nine)
Thousands Can Draw
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Reginald Denny in "The Spice of Life."
It ought to be well flavored. Baby Peggy
in "The Right to Love." That's about the
age they start in nowadays. Cullen Lan-
dis is American. Write him at the Vita-
graph Studios.
Wallace Reid Forever. — Yes, Wallace
Reid played in "The Birth of a Nation."
No, Mrs. Reid was never married before.
So you like my dog in the above picture.
He is a great help to me.
Little Sister. — You know what the
engaged girl says — a gift on the hand is
better than two promises. Ivor Novello
in "The White Rose." Yes. Mae Marsh
calls her little girl Mary.
Edna M. — Wind sawmills were erected
by the Dutch in New York as early as
1633, and were also used there for grind-
ing mills. One of the first sawmills
built there was on Governor's Island, in
the harbor of New York City. William
Reed is Eva Novak's husband. Barbara
Bedford is Mrs. Albert Roscoe. No Edna
Murphy is not married. Barbara was
born in Wisconsin. Buck Jones is twenty-
eight. Hoot Gibson thirty-one and Jack
Gilbert twenty -eigrtt.
Helen H. — Yes, Norma Talmadge
played in "Poppy" several years ago.
Haven't the cast for the play you speak
of. Sorry.
Betty. — Oh the hour-glass dates back
from the beginning of the Christian Era.
Agnes Ayres in "The Marriage Maker."
Pauline Garon in "The Turmoil." John
Barrymore is forty-one. Oh yes, Thomas
Meighan played opposite Norma Tal-
madge in "The Heart of Wetona" some
years ago. Dorothy Mackaill in "Mighty
Lak a Rose." You're very welcome, and
I hope to see you next month. Au revoir !
Manett. — You want to know how the
stars in Hollywood approve of Pola Negri.
I guess it isn't worrying Pola any. Lil-
lian Gish was born in Springfield, O.
Matt Moore can be reached at the Louis
B. Mayer Studios, 3800 Mission Road,
Los Angeles, Cal. Norma Talmadge at
5341 Melrose Ave., Los Angeles.
Maid of Maryland. — So it's Ralph
Bushman you're after. He was playing in
comedies, but not featured. His father is
touring with his last picture you know.
Marjorie F. — Last address I had of
Walter McGrail's was with Mack Sennett
Comedies, Los Angeles, Cal. He played
in "Suzanna."
Cutey ; Cutex ; Antonio Moreno
Fan; Dottie J.; Thomas N. ; Elizabeth
B. ; Miss F. W. ; Virginia S. ; Carmella
Z. ; Lytell Fan ; Roberta H. ; Jean B. ;
Billie May ; Bertha E. ; Marilyn ; Iris
Mc; Kitty; Mary H. ; Ethel M. ;
Charles O. ; Pauline E. ; Ima Sweete,
Strawberry Blonde, and William S.
Your letters have been answered up
above. Sorry to have to put you in with
the alsorans.
SEVENTEEN
By Claribel Weeks Avery
I hate to put my shoes on, but I suppose I
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Or lie among the daisies on the sunlit
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1 want a jeweled comb to hold my flying
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A cape of purple satin such as stately
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A handsome, grown-up lover and a
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It's very hard to be as young as seventeen !
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|pendability of its truths has been in- 1
vestigated.
Let us give jour Astrological reading. To I
cover packing, enclose TEX CENTS (si amps
or coin), your name, address, exact birth-
date and receive yours by return mail. Learn
the truth. A big surprise. Write today. DO
NOT FORGET TO ENCLOSE YOLK
H1RTHDATE.
ZODIAC RESEARCH SOCIETY
415-58 St. Suite 360 Brooklyn, N. Y.
(Ninety)
Gas or
Electric
!££ Lamp-
Comes equipped for choice
of gas or electricity. Has 2-
light Benjamin socket for
electricity only, with 8-foot
silk cord ready for use; or
comes with 6-foot rubber
hose, burner, mantle and
chimney for gas.
Mahogany Finish
Standard is 60 in. high, 3 in.
in diameter. Highly polish-
ed French mahogany finish.
l^Shade-
Made in Fifth Avenue de-
sign, 24 in. in diameter, of
delft blue silk, shirred top,
alternating plain and fancy
art silk panels. Twelve
panels in all, tinsel braid
border, with four inch Chenille fringe.
American beauty shirred lining. The
harmonious color scheme gives effect
of red light shininK through a blue
haze — a rich warm light. Shipping
weight, 27 pounds.
Marshall Silky Fringe Pull-Cords
Also pair of Marshall silky fringe cords
with 3Vi in. silky fringed tassels, giving
an added luxurious effect.
For gas u»e, order by No. G6332NA.
For electricity, order by No. C6333NA.
Send only $1 with the coupon, $2
monthly. Total Bargain Price for lamp
and shade, $19.85.
Free Bargain Catalog
Shows thousands of bargains in home
furnishings: furniture, jewelry, rugs,
curtains, phonographs, stoves, dishes,
aluminum ware, etc. All sold on easy
terms. Catalog sent free, with or
without order. See the coupon.
Down
Brings
This —
Floor Lamp
5 A.. Silk Shade
Here is something you have always wanted — a beautiful floor lamp
with handsome and elegant Fifth Avenue silk shade — to add an extra
tone of elegance and luxury to your home. On this generous offer
you can see just how this floor lamp and silk shade will look in your
home, without risking anything. Send onl, $1.00 with the coupon
below, and we will send it complete to your home on approval, equipped
for use with either gas or electricity. We take all the risk.
30 Days Trial
When the lamp outfit
comes, use it freely
for 30 days. See how
beautifully the colorings of the handsome silk shade blend and har-
monize with everything in the home. How useful it is, too — so handy
for reading, can be moved around with ease to furnish a beautiful light
and rich warmth and coziness to any room in the house. If after 30 days trial you
decide not to keep the lamp, just return it at our expense and we will refund your
$1.00 deposit, plus any freight or express you paid. You cannot lose a single penny.
Month
If you discover that this
lamp is a tremendous
bargain at the price
we ask and you decide to keep it, send only $2.00 a month until you
have paid the total bargain price of $19.85. Yes, only $19.85 for this
luxurious lamp and silk shade complete. Compare this value with anything you could
buy locally at anywhere near the same price — even for spot cash! Straus &Schram
gives you this bargain price and almost a year to pay. We trust honest people any-
where in U. S. No discount for cash ; nothing extra for credit. No C. O. D.
Price Slashed !
Decide now to see this beautiful floor
lamp and silk shade in your home on
approval on this price smashing offer. Think how the nickels and
dimes slip away for useless things; save them for something worth
while that will give satisfaction for years. Send coupon with only
$1.00 now! Satisfaction guaranteed.
STRAUS &SCHRAM, Dept. 1519 Chicago, HI.
Send Coupon NOW!
Name
MAIL THIS COUPON NOW! ffi ™* "SBSE*.
Enclosed find $1.00. Ship special advertised Floor Lamp and Silk Shade
as checked below. I am to have 30 days free trial. If I keep the lamp,
I will send $2.00 a month. If not satisfied, I am to return the lamp and
shade within 30 days and you are to refund my $1.00 plus any transporta-
tion charges I paid.
□ Gas Floor Lamp No. G6332NA, $19.85.
□ Electric Floor Lamp No. G6333NA, $19.85
Street. R. F. D.
or Box No
Shipping
Point ....
Post Office State
If you want ONLY our free catalog of home furnishings, mark X bere D
(Ninety-one)
Do You Want
A Bigger Salary?
It doesn't matter what you are Today
or what you were Yesterday. Tomorrow
is your bright, clear day of Opportunity.
Nothing can keep you down if you really
make up your mind to go up.
Maybe you've gotten a bad start. Perhaps
you haven't had a decent raise in years. Or
perhaps you are among those thousands who
have had their wages cut — or have been thrown
out of a job. But you aren't going to quit,
are you? Right now, when trained men are iD
such demand, you've the best chance you ever
had to get out of the rut and do something
worth while.
But you're "too old to start over," you
say? Nonsense! When some of the big
men of this country were your age, they
weren't earning half what you are get-
ting today. But they didn't quit! They
worked! They studied! They learned
to do some one thing well.
At 35, Henry Ford was working in the me-
chanical department of the Edison Electric
Light & Power Company. At 38, John H.
Patterson, who founded the National Cash
Register Company, was the proprietor of a
small and none too successful country store.
At 25, George Eastman, president of the
Eastman Kodak Company, was a bookkeeper
in a savings bank. At 22, Edison was a
roaming telegraph operator — out of a job, too
poor, when he arrived in New York, to buy
his own breakfast!
Forget what you are today and decide
on what you want to be. No man has
failed until he admits it to himself. And
no real man ever admits it. Why, man, in
just one hour a day — in the spare time
you will never miss — you can fit yourself
for a better job and a bigger salary.
This is all we ask: Without cost, with-
out obligating yourself in any way, put
it up to us to prove how we can help
you. Just mark and mail this coupon.
INTERNATIONAL CORRESPONDENCE SCHOOLS
Box 6759-C. Scranton, Penna.
Without cost or obligation on my part, please tell me
how I can qualify for the position or in the subject before
which I have marked an X:
BUSINESS TRAINING COURSES
□ Business Management D Salesmanship
D Industrial Management D Advertising
□ Personnel Organization □ Better Letters
OTraffic Management D Show Card Lettering
D Business Law □ Stenography and Typing
□ Banking and Banking Law O Business English
D Accountancy (Including C.P. A.) □ Civil Service
D Cost Accounting □ Railway Mall Clerk
□ Bookkeeping D Common School Subjects
B Private Secretary □ High School Subjects
Spanish D French O Illustrating
TECHNICAL AND INDUSTRIAL COURSES
□ Electrical Engineering QArchitect
□ Electric Lighting □ Blue Print Reading
□ Mechanical Engineer □Contractor and Builder
□ Mechanical Draftsman □Architectural Draftsman
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n Surveying and Mapping □ Airplane Engines
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Name
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Address
City State
Occupation
Persona residing in Canada should send this coupon to the
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DR. L. OSBORNE CO. 220 Fifth Avenue
Established 1912 New York
Iris la
{Continued from page 50)
Which brings us back to a time
long ago when we were highly
privileged to see Theda Bara in
"Cleopatra" in the presence of that
Reel Rameses, William Fox himself.
The celluloid kaiser was not too
content with the film. He made re-
marks— some of which wouldn't go
too well on this pure page, despite the
snappy illustration. The shots alter-
nated rapidly between the two prin-
cipal scenes of action. Now Caesar
was in Italy, now he was in Egypt.
"Gawd, Miss Bangs !" complained
Mr. Fox to his secretary, "this guy
Octavius goes from Rome to Alex-
andria like he was going from
X'York ta Brookalyn."
"Scaramouche" is a worthy effort
of Rex Ingram's; a director who has
a great deal to his credit already. But
figure the anguish it must be causing
the people who read subtitles out
loud. The cast of characters contains
such tongue-stranglers as "Marquis
de la Tour D'Azyr," "Aline and
Quintin de Kercadiou" and "Comtesse
Therese de Plougastel."
Out of our innate decency we are
not going to be piggish about our su-
perior French education, but hereby
append a pronouncing dictionary of
the above names for any or all to
make use of. If it helps you to enjoy
the picture and annoy your neighbor,
go to it and God bless you.
"Marquis de la Tour D'Azyr" is
prounced macky (as in macaroni)
dcllv tore (as in rip) de Zowie (as in
Mutt and Jeff).
"Aline de Kercadiou" is pro-
nounced A Liney dee Cork Cashew
( as in nut).
"Quintin" is pronounced Quinine,
or if you want to get real fancy,
Canteen.
"Comtesse Therese de Plougastel"
is pronounced Come Tessy Tear Easy
(as in tissue paper) dee Plug (as in
Spark Plug) Estellc (a girl's name.)
No, dont thank us. It's really a
gift.
MOTH
By John Hanlon
Around my flickering light
A white moth flutters ;
Shall I give it back to the night
Thru the open shutters.
To the night from whence it came.
Free, without fetter?
No, having loved a flame,
To die is better.
How to care for
Dull Hair
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LEAllN
Movie Acting!
A fascinating profession that pays big. Would
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Send 10c for our Twelve-Hour Talent Tester or
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A novel, instructive and valuable work. Send
dime or stamps today. A large, interesting, illus-
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FILM INFORMATION BU REAU. Sta. N.. Jackson. Mich.
Reduce
Your Bust ,
during the Day
./ Ik.- No longer need you have a large
^r >, bust. You can easily make your
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SCtlfl JWO IwlOnCV ureme^tofj'ourBustand
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Write Now ! ANNETTE. Dept. C-4. Evan»ton. III.
"DON'T SHOUT"
\ "I hear you. I can hear now as I
- wellasanybody. 'How?'
4 With THE MORLEY
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i is to the ears what glasses
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THE MORLEY CO., Dept. 792, 26 S. 15th Street. Phila.
JadieSb£^free
rOU will be proud to own this beautiful
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with this plan it won't cost you
a cent. Don't delay— write now.
HOME SUPPLY CO.
Ul DuAJie Mr" I D«pt 8?
_N«w York CilJ
(Ninety-two)
The Celluloid Critic
mtihued from page 49 )
;iml then i li«>ld touch <>f burlesque.
Then il s\\ ings into a melodramatic
climax as the head designer goes to
j.iil and wrecks the business as a
result You catch the pathos as the
1 .11 tnei s an submerged in gli iom
Barne) Rernartl, who created tin*
character oi Potash, humanizes it in
such a manner that he fairly speaks
-Mi Mexander Carr who cre-
ated Perlmutter in the original
makes an excellent foil. The di-
rector has given it a fine sympathetic
treatment. \nd we catalog it .-is
worth seeing.
A CUMBERSOME, heavy pic-
ture is the German importa-
tion. '"Monna \ anna" | Fox),
which is entirely devoid of any dra-
matic interest and which is filled to
overflowing with huge mobs of ex-
tras and flowery titles. They miss
Lubitsch over there and aside from
"Peter the Great." the land of the
Rhine has fallen behind the proces-
sion. Here we have the mediaeval
tale of love and war in Pisa as spon-
sored by Maeterlinck. It is one of
those creaking dramas of an Italian
bride who, to save her starving city,
otters herself to the general of the
opposing forces, only to discover that
he is the man she had been in love
with ever since he hurst into her
toom in the early part of the storv.
The picture demanded skilled
treatment — somebody who is deft
with a rapier instead of a bludgeon.
Ihe photography is blurred, the
lighting poor, and the acting of the
lowest order of expression — which
means mad. had facial distortions
and what not. The ten thousand or
more extras are before us time and
again. Put crowds badly directed
do not lift a spectacle to the heights.
What good points it possesses may
ho found in some massive sets and
some appropriate atmosphere.
SOMETHIXC, new in love-mak-
ing is exposed in "Six Days"
i Goldwyn) which may be called
subterranean instead of sub-rosa as
is characteristic of most of Elinor
Glyn's stories. Instead of carrying
her lovers and the spectators to the
heights she plunges them to the
depths— and the lovers (not the
spectators) are swept into a grand
passion which endures six days. If
you think that the daring British au-
thoress steps out of character, pav at-
tention to the titles attached to the
subterranean episodes. "And thus
the first day ended. Thus the second
day ended." They are so terse— so
pointed that they invite laughter
(Ninety-three)
Whiten Hands Overnight
Abounding Scientific Discovery— Dr. Egan's
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Results Absolutely Guaranteed in Writing. Legal
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JUST think of it — putting on a pair of irloves for a
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and soft! That is the manic of Dr. Egan's
amazing medicated Glows! Nothing like them
ever known! These gloves of medicated fabric (not
rubber' actually turn vour
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No matter how red your
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Results in One
Night
Just one night's wear of
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enough to convince you.
You see a difference in
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believable. Wear the
gloves four or five nights
and you have a new pair
of hands. It's the medi-
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work. The gloves are im-
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the famousDr.S.J. Egan.
The medicated fabric
when activated by the
natural warmth of the hands has a peculiarly potent
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They become soft and smooth as velvet. And all so
quick as to be dumfounding.
The complete Dr. Egan Magic Glove outfit con-
sists of: one pair freshly medicated gloves: one jar
Dr. Egarr's Pore-Lax: one bottle Glove Medicator;
one copy Dr. Egan's booklet, "The Care of the
Hands"; all in neat container. The Pore Lax is a
special cream to apply before donning the gloves to
open the pores of the skin for the action of the medi-
cated gloves. The Glove Medicator is for restoring
the potency of the gloves after a period of wear.
Gloves may be worn at niuht while you sleep or
during the day while doing your sweeping and
dusting.
Complete $5.00 Outfit on this Amaz-
ing Introductory Offer only <£^ QC
These gloves will soon be offered the *r
public through the regular channel.-;
at $5 the pair. But a limited number of
sets are now being offered for adver-
tising purposes at practically cost-
Si. 95. You can get this complete $6. 00
outfit — Medicated Gloves, generous
supply of Pore-Lax and Medicator—
all for $1.95 on this introductory offer. But you must
act at once, as only 10.000 sets are to be distributed ar
the cut price. You may pay the postman or. if you
prefer enclose $2 with coupon and receive package all
paid for. Remember, every penny of your money back
if you say so. Clip and mail the coupon now before
you forget.
Try the Gloves FREE
Try the gloves live nights free. Note the amazing
difference in your hands in just five nights' wear.
Mark how lovely your hands, how white and smooth.
If five nights of wear of the gloves doesn't make
your hands more beautiful than you ever dreamed
possible, don't keep the gloves. Return them to us
and you won't be out one cent for the free trial. You
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SEND NO MONEY
Just Mail
the Coupon
Send no money now— just
the coupon. Pay the post-
man only SI. 95 (plus
postage) on delivery of
the gloves. Ifinodaysyou
are not more than delight-
ed and amazed with the re-
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send them back and your
money will be promptly
refunded in full. We give
you a written guarantee
to this effect. You run no
risk. Fill out and mail
the coupon now or copy
it in a post card or letter.
If apt to be out when
postman calls send
now. Our guarantee as-
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back if you are not per-
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Dr. S. J. Egan. Dept. 86,
220 South State Street.
Chicago, Illinois.
1
Dr. S. J. Egan, Dept 86
220 S. State Street, Chicago, 111.
Please send me (in plain package) for free trial a pair of
Or. Lgans Magic Gloves for whitening and softening the
hands, with Pore-Lax and Medicator. I will pay postman
J1.96 <p us postage) on delivery of the gloves. If I am not
perfectly delighted with the change in my hands in S dav»
I may return gloves and get my money back in full (If
money
plete outfit will be mailed^repaid")
pt to be out when postman calls send E> now and the corn-
let— ~
Name..
I
I Address..
I My glove size is..
^Shapeliness
H Sf&f AC^eA,hA-Teu"C}ne d«sfiSu™ng fat in any part of the body
of MEN OR WOMEN, by few minutes daily use of the famous invention
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Dr. Lawton's authoritative book. "WEIGHT REDUCTION "
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--■. «»» ««*. inuuw naa tiuue lis tvuill.
SPECIAL PRICE Seducing results must show in eleven
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purchase price. This is Dr. Lawton's
positive guarantee! Sent C. O. D. in
plain sealed wrapper, or if you prefer
remit $3.75 plus 20c. for shipping costs.
Order yours now. Free literature sent
on request.
$
3^-5
SENT C. 0. D
DR. THOMAS LAWTON
19 West 70th Street Dept. 6
New York City
Everybody
Can Dance
Learn in One Hour at Home
There's now no need of being a wall-
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Convince yourself at my expense how amaz-
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send the first six lessons of my course (in plain wrapper) in-
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and you'll owe me nothing. Write quick before this unusual
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WILLIAM CHANDLER PEAK, M. B.
Studio 144 4601 11 Broadway Chicago, 111.
Only $6?5 fortius $20 value
White Gold Wrist Watch
25 year 14K white gold-filled case, richly engraved,
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piness in marriage,
Under which Zodiac Sign
were you born ? What are
your opportunities in life,
your future prospects, hap-
friends, enemies, success in all
undertakings and many other vital questions as in-
dicated by ASTROLOGY, the most ancient and
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Were you born under a lucky star? I will tell
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Simply send me the exact date of your birth
in your own handwriting. To cover cost of this
notice and postage, inclose twelve cents in any
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Do not fail to send birthdate and to inclose 12
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Write now— TODAY— to the
ASTA STUDIO, 309 Fifth Ave., Dept. 133, New York
which would certainly be out of place
in such a harrowing experience as
lived thru by the romancers.
The plot is heavy-handed dime-
novel material — thrilling in its ex-
posure of the will to live by these
figures in the dugouts left by the
Germans. It's a picture of land-
slides which entomb the priest and
the lovers — a picture of grim and
ghastly situations which terminate
when the girl tells her mother she
cannot marry the wealthy English-
man since she is already married to
the man who was lost to her while
making love in the bosom of the
earth. Of course he eventually bobs
up safe and sound.
The picture carries a certain spir-
itual quality which makes the petting-
party episodes in the dugouts very
much out of order. The most im-
pressive touch to us is Corinne Grif-
fith's portrayal — in reality her first
big opportunity. She endows the
role with sincerity and charm and
plays with vital feeling. Heavy
melodrama that it is, it somehow
lingers in the memory.
PERHAPS Gloria Swanson
thought she could not be a con-
vincing French personage of the
theater unless she resorted to ex-
tremes, but it seems to us that with
half the expenditure of physical en-
erg)' in playing the title-role of
"Zaza" (Paramount) she could have
achieved much better results. She
is a combination of Nazimova, Mae
Murray and Leonore Ulric — and
makes a frantic effort to be tempera-
mental. Such outbursts are wearing
upon one's composure. In her tran-
quil moments— which are few — she
succeeds in being real. On the other
hand H. B. Warner is too subdued.
It is a frigid performance indeed, for
a character supposedly French
The picture is staged with undue
lavishness and really proves interest-
ing in a majority of its scenes — par-
ticularly when Zaza is swinging in
a ballet number over the heads of the
audience. It's a story of a dancer's
romance and a broken heart which is
mended when the good Frenchman's
wife conveniently dies, releasing him
to fan the embers of a previous pas-
sionate love into a quick and vivid
flame.
Miss Swanson may not be at her
best here, but her clientele is so se-
cure that we can hear the box-office
cracking; under the strain.
A CURIOUS composition is
"Red Lights" (Goldwyn)
which is offered as a mystery
melodrama, biit which before it de-
velops its powers takes on the form
(Continued on page 96)
(Ninety-four)
Manufacturers, Distributors
and Studios
ol
Motion Pictures
Now York City
need Motion F'ietun ^ 01 p . i 193 B
\t!i'\v Fill ( 'Ol p . 130 \\ . .i.nu! St.
1 Film Corp., 1 Congress St., I
. V .1. iStudi
in Hugo, Productions, 366 Fifth Ave
Biograph Studii i,~5th St.
Coiniutiniiv Motion Picture Bureau, 46 W.
Mtfa
lidated Film Corp., So Fifth \
opolitan Production cond Ave.
Educational Film Co.. 729 Seventh Ave.
Import Film Co., 729 Seventh Ave.
Famous Players Lasky, 48s Fifth Ave. (Stu-
dio, 6th and Pi Astoria, L.I.)
Film Booking Offices, ;-'j Seventh Ave.
Film Guild. 8 W. 40th St.
Film Market. Inc., 14S-- Broadway.
First National Exhibitors, Inc.. 6 W. 48th St.
Pox Studios. Tenth Ave. and 55th St.
Gaumont Co., Congress Ave.. Flushing, L. I.
General Enterprises. Inc., 1540 Broadw
Goldwyn Pictures Corp., 469 Fifth I
Graphic Film Corp., n ;i V
Griffith. D. W., Films. 1476 Broadwa; (Stu-
dio. Oriental Pt.. Mamaroneck, N. \ .)
Hampton, Hope, Production's, 1452 B'way.
Hodkinson. W. W., Film Corp., 469 Fifth
Inspiration Pictures. 565 Fifth Ave.
International Studios. 2478 Second Ave.
Ivan Film Prod.. i-'6 W. 46th St.
Jans Pictures. 729 Seventh Ave.
Jester Comedy Co., 220 W. 42nd St.
Kane. Arthur S., Prod., 25 W. 43rd St.
Meiro Pictures. Loew Bldg., 1540 Broadway.
Moss. B. S., 1564 Broadway.
Outing Chester Pictures, 220 W. 42nd St.
Pathe Exchange. 35 W. 45th St.
Piedmont Pictures Corp., 45 Laight St.
Preferred Pictures. 1650 Broadway.
Prisma. Inc., no W. 40th St.
Pyramid Picture Corp., 150 W. 34th St.
S. L. Pictures, 1540 Broadway.
George B., 1990 Park Ave.
Selznick Pictures, 729 Seventh Ave. (Stu-
dio, W. Fort Lee. N. J.)
Stewart. Anita. Prod.. Inc., 6 W. 48th St.
Sunshine Films. Inc.. 140 W. 44th St.
Talmadge Film Corp.. 1540 Broadway.
Topics of the Day Film Co.. 1562 Broadway.
Triangle Distributing Corp.. 1459 B'way.
Tully, Richard Walton. Prod., 1482 B'way.
Inited Artists. 729 Seventh Ave.
I nivcrsal Film Corp.. 1600 Broadway.
Vitagraph Films. E.
Ave.. Brooklvn.
1 6th St. and Locust
Warner Bros., 1600 Broadway.
West, Roland. Prod. Co.. 236 W. 55th St.
Whitman, Bennett, Prod., 537 Riverdale Ave.
{Ninety-five)
IMPORTERS
CUT PRICE
GUARANTEED
guarantee tag is attached to each
pearl necklace. We guarantee these
pearls tor a life-time of wear. They will
never peel or crack or break or dis-
color. They are indestructible and ir
soluble. Neither water, perspiration
orcosmeticscan harm them. This
strong guarantee can be given only
on the very Ix-st quality pearl
IO Days' Trial
You can wear these fascinating-
ly beautiful pearls for ten days on
free trial. Show them to your
friends. Compare them with
sold by other jewelers for
S30.00 or more. If you are not
satisfied, just send them back
and we will return your money.
FREE!
Diamond Clasp
Plush Gift Case
To give you extra special value for your
money, we supply a 14 kt. solid white gold,
engraved and pierced clasp, latest style, set
with a sparkling, blue-white, genuine dia-
mond. We give it away absolutely free. We
also give you a large sized heart-shape, satin-
lined plush gift case.
TEAR OUT AND MAIL
STERLING DIAMOND AND WATCH CO.,
63 Park Row, Dept. 1290, New York
Gentlemen; Please send a 24-inch necklace of ■
genuine imported French pearls, perfectly matched I
and graduated, full of opalescent beauty, asdescribed I
in this advertisement, to me by parcel post. C. O. D.. J
only $1.00 down (or inclose a dollar). If I am satisfied, I
1 will pay $1.00 a month until your new low pr |
SI 1.00 is paid. If I return the necklace within 10 ■
days you will return all of my money.
NAME
ADDRESS.
CITY &
STATE...
FRENCH PEARLS
25,000 pearl necklaces have been Imp
direct from France. They are _'4 inches
long, perfectly matched, carefully gradu-
ated, strung on strong ?dk cord, and fa
with a 14 kt. while gold spring safety clasp.
They glow with rich, opalescent colors
and look exactly like real pearls worth
thousands of dollars. They have the
same heautiful tints and sheen. They
are best quality, sure to please.
$1.00 a Month
After satisfying yourself that the
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that you have the greatest bar-
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$1.00 a month for only ten months,
total price $11.00. This includes
the genuine diamond set 14 kt.
solid white gold clasp and the
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case. (10% off for cash with order.;
Price Was $30.00
These magnificent, indestructible
pearls were made to sell for $30.00.
and your friends will think you paid
at least S30.00 for them. By importing
25.000 necklaces, we are able to bring
the price down to only $11.00.
Splendid Gift
Every girl and woman loves pearls, because
they are a jewel of adornment as well as of
beauty. Pearls enhance a woman's beauty.
I lite pearls will be appreciated as a
$30.00 present (30 Inches long, price $1.5.00).
JUST SIGN COUPON
That's all you sign — just your nam
address on coupon. T
answer. Your credit is good. We trust
you. You will tx ■' for such v.
ful pearls. They come to you at once for ten
days' trial. Don't wait; order right now.
Write for Catalog
We also import sparkling, brilliant, blue-
white genuine diamonds, and sell at greatly
reduced prices. Our large catalog shows a
ry store full of diamonds, watches and
jewelry. Write for a copy.
DIAMOND
& WATCH CO.
STERLING
63 Park Row, Dept. 1290, New York
ONE CAMT$195
w Former price was $325.00 a carat. This new low
price Is possible because we Import the diamonds
direct from Europe through our office In Antwerp.
They are guaranteed perfectly cut, sparkling,
brilliant, blue white, genuine diamonds, and will
stand any test or comparison. We carry a million
dollar stock for you to select from.
10 DAYSjFREE TRIAL
Select whichever one of these two rings you prefer,
and we will send it to your bank or express office
for free examination. Or, send the price marked,
and we will deliver by registered mail for ten days'
trial. If you return it. we will return your money.
Any size diamond from a carat to 2 carats can be
ordered on the same terms, at S195.00 per carat.
RING A
Large sized, sparkling
blue white genuine dia-
mond, guaranteed per-
fectly cut. set In IS
carat solid white gold
ring, which looks like
solid platinum. Makes
a very popular engage-
ment ring. Regular
price. $150.00.
RINGB
Basket style, closed
mounting of 18 karat
solid white gold, hand
pierced and engraved.
Set with fiery, brilliant,
blue white, genuine
diamond. Former price
S7S.00. Will be greatly
appreciated as a pres-
ent. Give finger size.
Write for Catalog No. 1234
Our handsomely illustrated catalog of- diamonds,
watches and jewelry brings our large jewelry store
right into your home. Compare our prices.
HGUTTEIUSONS
172 Nassau St.,
Depl 1283
New York
i
$9
34m.
W
Jeweled
Adjusted
Regulate
Genuine Diamond Clasp
Jlendld gift selections are
d here at greatly reduced
. They are just the thing for
tits to loved ones. The pearl
cklace is a regular $25.00
luc. They are indestructl-
>lc and full of opalescent
, beauty . Order on tri-il .
rectangu
TEAR^
OUT >*i
COUPONN
AND SEN D^
FOR FREE
CATALOG
&GUTTER&SONS NEWVORK
172 Nassau St., Dept 1283, New York.
Gentlemen: Please send your new bargain catalop.
1 1 have selected
Jwhich you may ship to my address for free
trial, upon the guarantee that you will return niy
money If 1 return the selection within 10 days.
Local
Address .,
City and
State
The Celluloid Critic
(Continued from page 94)
of high-handed comedy. The idea
behind it smacks of Old King Brady
and Diamond Dick at their dime-
novel best, tho with vast improve-
ment in generating novel touches in
pointing its quite mad hokum.
Word comes to a railroad mag-
nate that he may never set eyes upon
his daughter. He hops a train for
the boundless West and the action
starts a-popping. The story becomes
involved with strange situations ar-
ranged by equally strange characters.
For instance the girl's fellow em-
ploys a crime deflector whose, pro-
fession is checking villainy before it
can get under way. The red lights
of the title come from various
sources — some from the train — some
from the tinting — and most of them
from some eccentric inventor who
has perfected a diabolical machine
whereby arc lights are made to talk.
There is much tiptoeing — much
business of crooks stalking their
prey with the inevitable pursuit
which culminates in the climax when
the bad men are playing tag with
their pursuers over and under and
in and out of a train. It is improb-
able to be sure, but it offers no mo-
ments of tedium. A flickering fren-
zied pot-pourri.
SEASONED with a Cohanesque
dash of paprika, George M's
comedy satire of rural high
jinks, "The Meanest Man In The
World" (First National), carries on
with the same spirit that the original
did upon the stage. The limitations
of the proscenium arch are replaced
by the rustic open spaces — so that
the quaint figures that are concerned
in the conflict of foreclosing and lift-
ing the mortgage seem more genuine
— what with the general store as a
background and an oil spouter in
close proximity.
Bert Lytell is the "meanest man"
who is too tender-hearted to carry
out the designs of his harsh client.
Thru a clever manipulation of the
papers — and the figures, the oil
gushes forth just in time to foil the
wily skinflint.
The picture is bright and breezy
and filled with Cohanisms in its sub-
titles. It is good-natured tomfoolery
touched off with a spark of rural
burlesque. Blanche Sweet makes a
wistful and charming heroine upon
whose land the w. s. holds the option
— and upon whose store there is a
mortgage. By treating the play in
a satirical manner the producers
should get results in good coin of the
realm.
Are you his
"Dream Eyes?"
"W
HEN he is away does he dream of
your eyes i
D
oes he se
nd flo
to his dream eyes ?
You can have eyes thai he will remember
for their beauty. Use WINX to darken your
lashes, and make them appear longer and
heavier. Applied with the sanitary glass rod
attached to the stopper, WINX dries instantly
and last* even through weeping at the theatre. WINX
is invisible on the lashes and does not run or smear.
Absolutely harmless, water and perspiration proof.
Winx (black or brown) 75c. To promote growth
and nourish the roots of the lashes, apply colorless cream
Lashlux at night. Cream Lashlux (black, brown or
colorless) 50c. At drug or department stores or by mail.
Write today for samples of WINX and of
PERT Rouge — enough of each to last a week.
Samples are a dime each. Enclose coins.
ROSS COMPANY
78 Grand Street New York
WINX
10 titer pro of
BRINGS YOU THIS
I4-KT.WHITE GOLD
WRIST WATCH
5MALD Jki-J50 DAYS FR££
SIZE
TEN MONTHS TO PAY
Latest Octagon Shape. 14-KT SOLID WHITE GOLD. Beaoti
fully hand engraved. Silk grosgrain ribbon band. 15-jewel lever
-novement. Absolutely guaranteed. Send only $2 down, watch
omes all charges paid. You have 30 days to convince of its beauty
nd perfect time keeping. If not the biggest bargain ever offer-
•d, return watch and deposit will be promptly refunded. If
pleased, send $1.90 a month for 10 months, full price only $21.
Regular value, $35. Transacting strictly confidential.
GUARANTY WATCH CO., »*£%H™Z?i<>*
WillVouTake<15aWeek
for One Hour a Day?
I want to buy your spare time— will you take
S15 to $35 a week for one hour, two hours
or three hours a day? Read my otter.
I must have at once a limited number of re-;<L
fined, cultured women in every community Vi
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ing new scientific discovery has been made ^*\
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woman— in five days. I want to pay you for juat
telling other women where they can get this wonderful new dis-
covery Manv are making- from $16 to $35 a week. 1 will finance
you BEAUTY OUTFIT FREE. Write to me immediately and Til
explain my whole wonderful offer to you. No obligation. You can
rfDr«^S»r£inJ5 mo"ev at once if you write me now. MARIE
FRANZAN, Oept. 1412, 2707 Cottage Grove Ave., Ch.cago. III.
ist ^Jr
SEND US YOUR FILMS
$550.00 in Prizes Given Away. First Prize Ford
Touring Car. Write us for Free Coupon entitl-
ing you to ehare in drawing held Dec. 17. 1923.
Trial roll of film developer! '^r 6c; Prints Sc each.
Roanoke Photo Fin. Co. 207 Bell. Roanoke. Va.
1
«.^%ouxFir
The ORIGINAL weird Mysto Talisman Rintr-
wards off evil spirits, sickness, spells, etc.
Ancient belief, brings Success to wearer in love.
business, games, ALL Undertakings. Green Gold 1
finish, snakes set with Lucky Mysto Ruby and J
Emerald, fits anv finger. ALSO
The startling MYSTO WONDER.
amusing & mysterious instrument, answers
ALL questions. LOVE? Hate? Enemies?
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FRFF with Outfit-Direction andQues- \
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■"ALSO Free plan to make money.
Pay on arrival $1.97 Plus Postage.
MYSTOCO.,103E.125ihSL,Depl.902,N.y.C,
(Ninety-six)
Wlonl understand how
Charles tie Roche was
lected to pla) the role of .1
faun in " Hie Man \l aker"
1 Paramount ), but tlierc he is pre
9enting a physique not unlike Firpo's
in a pantomimic sketch which would
have better suited that master panto-
mimist, < iei n ge Vrliss.
The Frenchman is younger and
athletic — which are liis only quali-
fications I (therwise his study lacks
imagery and deft shading. He
bounds all over the place t\\ ice ap
pearing in a tiger -kin and changing
1.1 evening clothes while he attempts
lo place .1 house in order. Phere is
sparkle to t Ik- picture. \ sin
track storj which drags.
Tl I E Silent Command" I Fox 1
would have scored a complete
knock-out during the frenzied
day- of the war. The hysterical
public would have scaled the heights
of patriotism. As it i- the idea is a
little belated tin > it does serve as
propaganda for Seeing the World,
the naval slogan Call it deep-dyed
melodrama if you will, it doe- glorify
the American navy and it doc- cany
a punch — even tint that punch comes
from an old-fashioned school estab-
bshed by Lincoln J. Carter, el al.
Revealed in the turbulent action
are a heavy storm, a clashing fight, a
wreck, and a column of marines
storming the rendezvous of the en-
emy. The climax is a long time com-
ing to a head because of the plotting
and counterplotting. The best
hires? The storm effects, the flashes
of the fleet and marine scenes.
THEY ask for tear- in "Man and
Wife" (Arrow) only and suc-
ceed in extracting laughs. Two
sisters, farm-girls, marry the same
man. One of the girls runs away
from the farm, marries a city sur-
geon and i- supposed to die in a fire
— during his absence. He returns
home — and instead of investigating
the tragedy, conveniently retire- to
the very farmhouse from which his
wife made her escape, courts and
marries her sister within a period of
-ix month-! And neither one has
spoken of the departed relative, nor
consulted the family album. Bui
stay — the despicable villain informs
the surgeon that his wife isn't dead.
but on the contrary is alive, tbo hope-
lessly insane. So he operates, re-
storing her sanity. X'ot for long,
however, for she is told by the same
d. v. that her husband i- a bigamist
and she goes mad again. A second
operation brings the undertaker. She
had to be eliminated for the sake of
the second wife's unborn child. This
weird contraption defies logic and
insults intelligence.
The Magic Power of
AFew little LinesS^ L.
11.. 1
A nIuii 1 line
he knew how he •
leu I nil. I in. .111.I hOW to Ill.lkr bit
in drawing i!
NewEasyWayto
DRAW
■■
ten little ih.. i
nr.- tin:.
I pil
ture.
0 r tin'
in*:, best paid
few minutes'
mailing a day.
Delightful pas-
ln, 1. ■! Endless
fun I Acquire
Hi,' knack In
] .,11 1 spare
time,
Invaluable asset
in v.nir present
business. A few
.11, drive
home yum In-
New was maki
it easy to learn
drawing.
THIS wonderful new n
any-
oni 1 ,, 1 1 .1 1 11 Illustrating,
. ning, ,,1 Commercial Art.
Hundreds ol oni itudenl
now making splendid it,
And most ,,i them never touched
a draw tag pent il before thej
studied Willi us
'lii. dmpUi Its ol tbl method will
astound you. V,„i «ii!
at your own rani, I pro
learo bo mail ■•• \ pou ,
personal instruction from one of
remoat Com)
,1 experience.
— Frank Godwin and Wynn Hol-
comb (Wynn), the fain., us artist
but two of Ids many su.
dents. Qel Into tl.i
game, NOW. V.,u can easily Qualify
and make big monej \ f, ■■ minutes'
study each day i^ all Dial Is i,
Newspapers, advertising w
magazines, bualnef all arc
looking t,n men and ""men t,, han-
dle ibcir an work. Cartoonist
designers are at a premium. D
of our stud, nt ik at a high
lore than ti.»
ilng I
Vol' Willi a Uttl
I
big paying
'rids uin.i ug method baj ..m
Id Id. a tbat talent la an ab-
Its in art — that "II
. you have I.
.. method I,
lit you will,
-ttalgbt lines, tlien curves Tie
how to but them tot
making pi,
Sba.ln
1 follow In tbelr right
until that
b as J1.U0U for a
drawing.
Big money Is niailly paid and big
money Is waiting l"t anyoie
hi enough to prepare for ti.is
method of ;
earn bl^ money as an artist, regard-
less of your present ability.
11 for Interesting booklet
telling all about 11
Coupon Brings Fascinating Booklet
An interesting and handsomely illustrated booklet,
"New and Easy Way to Become an Artist." has been pre-
paid .Hid will be sent to you without cost. It tells now
>,,u can easily become an artist in a few minutes' daily
spare time and at the est of
a few cents a day. Explains
ahoul tins amazing method in
detail. IVHs ,,t' our student.
and their wonderful progress
and how y.c can qualify you
I ,, r a high-Sal a r i .'.I artist's
position. I!,,,,klct git
particulars about out "Free
Artist's Outfit" Offer. This
booklet will be sent tree, and
without obligation. Read all
about this amazing New Easy
Way to Draw and how you can
quickly learn, at home in spare
time. Fill out the booklet-cou-
pon now. Mail it TODAY.
OVto
Ibecohe
arv ARTIST
Des«ner-lllus<ra!cr -Cartoonist
Mail coupon today for this
f asci noting booklet , and learn
how youcan become an Artist
in a few minutes a day of
your spare time. Cut out
coupon and mail NOW.
I The Washington School of Art, Inc. |
j Room 2912, 1 115-lSth Si.. N. W., Washington. OX j
| i me. without cost or obllga* ■
I thin on my part, your free I' I
and El an Artist." and ■
full nt your special Short- I
I Tim, Offer
I 1
(State whether Mr., Mrs. or Miss)
Washington School of Art. Inc.. Room 2912, 1 1 15-15th Sl, N. W., Washington, D. C
I
Address ]
I
:_i
City State.
A PERFECT NOSE FOR YOU
BEFORE AFTER
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The ANITA Company. Dept. 1229. ANITA Building, Newark, fj, J.
(Xinety-seven)
DO YOU SEE YOURSELF AS OTHERS SEE YOU?
A NEW SCIENTIFIC, PAINLESS METHOD OF
A perfect looking
nose can easily
be yours •■/■■/■
CORRECTING ILL-SHAPED NOSES AT HOME
TIME ADVANCES — as does science succeed in
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perience in manufacturing and selling Nose Shapers
have proven to me that I can now offer to the
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In the first place, my newest appliance is better
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These screws will bring about the exact pressure
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— and turned up nose — and will give marked suc-
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Model No. 25 is upholstered inside with a very
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Model No. 25 is guaranteed, and corrects now
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If you wish to have a perfect looking nose,
write today for my free booklet which tells you
how to correct ill-shaped noses without cost if
not satisfactory.
M. TRILETY, Face Specialist 1935 Ackerman Bldg., Binghamton, N. Y.
A FORTUNATE cash purchase enables us to offer gen-
uine ARTEX WATCHES at these astonishing low
prices. Patterned after the daintiest and highest
priced platinum models of the day. Their charm is equalled
by their practical value as time keepers. Every watch has
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No. 10 — Tonneau shape, 6 Amethyst jewel movement.
15 yr. white gold case. Price, this sale, $6.80.
No. 11 — New diamond shape. 6 Amethyst jewel move-
ment. 15 yr. white gold case. Price, this sale, $8.75.
No. 12— Mostpopular rectangular model. 6 Amethyst jewel
movement. 15 yr. white gold case. Price, thissale, $10.85.
ARTEX CO. Dept. 1 4 1133 Broadway
New York City
BLANK CARTRIDGE PISTOL
^Protection against Burglars, Tramps. & Dogs DD IPCO
50c.
POST-
PAID
„ Well mad* and ef.1
fective; modelled OB
latest type of Beyolver:
eppearance alone 13
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1st. When loaded it mar
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JOHNSON SMITH 4 CO. Dept. 29 Racine. Wis
rt CornerYourFictures-Aibum
where yoo can keep tbera safe and
enjoy them always,
Endei
|>TrtC
orners J Colors
Buys
too
Styles
are on sale at Photo Supply and . _
Album counters everywhere. They g3
are the only Quick, Easy, Artistic. -*
No Paste, No Fold way to mount
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ENCEL MFC. CO.
Dept.26Z 4711 N.Clark St., Chicago
This Beautiful
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s, absolutely free, a beautiful genuine
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The Slave of Desire
(Continued from page 59)
her a score or more of other ad-
mirers. This, of course, was not the
truth. The truth was that Fedora
had outlived her day of triumph.
She was no longer 'the rage.' Her
vile ill tempers, her maliciousness,
her covetousness had all served to
eclipse her beauty in the eyes of men,
not so blind as they may sometimes
seem, or not, anyway, for so long
a while. But because she must have
someone to blame it upon, Fedora
blamed her downfall upon me, whom
she had always, secretly, loathed.
"When I announced my coming
marriage to Pauline, her venom had
spread broadcast. She had done all
that lay within her by no means
limited power to undo my approach-
ing nuptials, and if Pauline had not
been a woman with a soul as white
as Faith, she might have succeeded.
"Little wonder, then, that I shud-
dered and grew cold and sick when I
saw this woman advancing up a pre-
cipitous incline in the immediate
wake of Pauline. A slight contact,
an 'accident,' and one could easily
have pushed the other off any one of
the precipices pit falling the narrow
trail.
"And as I looked I knew that this,
just this, was what Fedora had in
mind.
"In less time than my sick heart
took to beat thrice. Fedora had
seized upon Pauline and my beloved
was struggling for her dear and
precious life upon the thin edge of
eternity.
"Mes amis, in that moment I knew
the love that is stronger than life and
more valiant than death.
"I knew, I knew to a certainty,
that the Magic Skin, no larger now
than a garden pea, could grant me
one wish, one more, one last wish.
With the uttering of that wish my
depleted life would go out, as surely,
with as little storm in passing, as a
breath blown upon the head of a
dandelion when it has gone to seed.
"My life for Pauline ... ah,
little, little enough !
"I made the wish.
"As I made it Pauline stumbled
over the edge of the fatal decline and
caught securely fast to a scrubby oak
or bush, growing there, and as I made
it, a trickle of earth and rock and
gravel came thundering thinly down
the mountainside and formed for
Fedora a tomb ... a grim and final
epitaph.
"C'cst tout!"
Raphael ceased, and looked about
him. Still, in the golden candle-light
(Ninety-eight)
the faces of his friends were faintly
blurred with uncertaint)
"You Mill do not understand," the
poet said. . . . "It was like 1 1 1 i-
"lt was your last wish, \»>u saj ."
one of the group broke in, "your last
wish and you were to die with it.
What thru?"
" \s I made that lasl wish," Ra
phael said, solemnly, "I felt a chill
creep over me. It was as if a mist
had risen from some cold, north sea
ami in that mist, dimly, dimly, I saw
tin- fact' of tin- antiquarian. Tin'
mouth moved and 1 seemed to strain
thru tin- mi-t to hoar what he might
be saying and what he said was this:
'You have made with your List wish
//(<• first unselfish one you luive ever
uttered . . . tlii' curse of the skin is
lifted . . . you are free. . .
Now the poet Raphael rose from
his chair and stretched with sinuous
grace, lie looked about at the faces
of his friends and found them clear
with comprehension. He breathed a
sigh oi relief and his eyes sought the
room from whence came the sound
iii a dim song, Pauline playing . . .
Hni!" he smiled.
New Books In Brief Review
{Continued from page 79)
it is one long diatribe against the
foremost collegiate institutions of the
country, which, if we are to believe
Mr. Sinclair, are in as bad a way as
the American newspaper press, which
he so roundly and soundly denounced
in "The Brass Check."
The author claims that he spent a'
whole year in preparing his last book
by reading "hook, pamphlets, reports,
speeches, letters, newspaper and
magazine articles to the extent of five
or six 'million words; traveled over
America from coast to coast and
hack again ; stopped in twenty-five
American cities and questioned not
less than a thousand people — school-
teachers and principals, superinten-
dents and board members, pupils and
parents, college professors, students
and alumni ; presidents, chancellors,
deans, regents, trustees, governors,
curators, fellows, overseers, found-
ers and donors, ct al."
This sort of thing leaves one a little
breathless, but not so the author, who
keeps up the pace more or less thru-
out nearly five hundred pages, leav-
ing the reader panting behind and
ever and anon mopping his brow and
saying, "If this is to continue may 1
be given the strength to bear it."
Mr. Sinclair, as usual, spoils his case
to a large extent by overstatement.
But if he wants to disagree with
nine-tenths of bis fellow creatures
why not let him?
(Ninety-nine)
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Flashes from the Eastern Stars
(Continued from page 53)
the votes were for "America," with
"The Spirit of 76" a heavy second.
Allan Dwan has begun production
of Rex Beach's story, "Big Brother"
at the Alanhattan Casino, 155th
Street and Eighth Avenue. New
York, by filming one of the biggest
scenes in the picture, using seven
hundred and fifty extras in addition
to the principals.
John Barrymore will return to
New York in November for a four-
weeks' engagement in "Hamlet,"
followed by a brief tour of the prin-
cipal cities. Negotiations are under
way for Arthur Hopkins to take the
production to London in the spring.
Barrymore has just completed "Beau
Erummell" for Warner Brothers.
Tom Geraghty, who has been in
Ken neb unk port, Maine, working
with Booth Tarkington on the screen
version of his story, "Pied Piper Ma-
lone," which will be Thomas Meigh-
an's next Paramount picture, has re-
turned to the Paramount Long
Island studio to begin work on the
scenario. The story is an original
by Mr. Tarkington and many of the
scenes will be filmed at Mr. Tar-
kington's summer home in Maine.
Mr. Geraghty said that many of the
summer residents were remaining in
Kennebunkport just waiting for the
picture company to come. Tommy
has had his transcontinental com-
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back in New York after a two-
months' stay at the Lasky studio in
Hollywood.
Madge Kennedy has completed the
second of a series of six special pro-
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Kenma Corporation. The name of
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the waters surrounding New York
Citv. The idea for the story was
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ever staged in New York. This is
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the Apollo Theater.
Flying thru fog and rain at night,
landing once in a valley when he be-
came lost and finally skimming one
hundred and fifty feet above tree and
(Continued on page 102)
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Flashes from the Eastern Stars
(Continued from page 100)
Louse tops across New Jersey and
Staten Island, Eddie Stinson, fa-
mous speed flyer, reached New York
last Wednesday afternoon with the
first motion-picture films of the Jap-
anese earthquake. It was one of the
most reckless competitions on record
to transport news pictures half-way
around the world for the purpose of
showing them first to the American
public. Stinson was able to snatch
only a few hours' sleep from Sunday
until Wednesday night. As a result
audiences in the Rivoli and Rialto
theaters. New York City, were able
to see a film record of the catastrophe
twelve days after the film had left
Japan, and on the thirteenth day
prints were being shipped to all parts
of the country. This is believed to
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tance transportation of merchandise
of any kind.
Bert Lytell is appearing in vaude-
ville for a five-weeks period.
The engagement of Sidney Olcott,
producer of "Little Old New York"
and "The Green Goddess," as a
Paramount director on a long-term
contract was announced this week by
Jesse L. Lasky. Mr. Olcott's first
picture for Paramount, will be
Maude Fulton's play, "The Hum-
ming Bird," which had a successful
run on Broadway last season. Gloria
Swanson will be the star.
May McAvoy has signed a con-
tract with Inspiration Pictures and
has already begun work, playing the
lead opposite Richard Barthelmess in
his next production, "The Enchanted
Cottage." Not only has Miss Mc-
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ices for subsequent productions.
Those who have followed Miss Mc-
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know that she is again to play under
the direction of John S. Robertson,
for it was with him that she created
her memorable Grizel, in "Senti-
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Following the successful launch-
ing in the East of his "Scara-
rnouche," Rex Ingram with his wife
and star, Alice Terry, has gone
abroad to make a new picture. One
of Mr. Ingram's most important
pleasure trips will be to Ireland, his
native heath. Mr. Ingram left Ire-
land at the age of nineteen, practic-
ally penniless, but with lots of ambi-
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i him ' I'.nt i
"Whole heart and fancy :
Bettj * i impson ai i ived home from
England. It was reported tint she
was engaged to Sir Charles fiigham.
She denied it emphatically . . . but
the) always den) it.
Livingston Piatt, the famous the-
atrical scenic designer, lias been
signed to create the settings for "The
Enchanted Cottage." Mr. Rati has
designed most of the settings for
William I [arris in recent years, in-
cluding such successes as "Abra-
ham Lincoln," "Madame Pierre,"
and "In Love With Love." Until re-
cently he has been at work- on John
Drinkwater's newest play, "Robert
E. Lee."
Bryan Fox, son of the renowned
"Eddie," and eldest of the ''Famous
Seven," who recently was promoted
to a comedy directorship at the Wil-
liam Fox lot, is in New York visiting
his father and the other six. It is his
first vacation in two years. Young
Mr. Fox's first comedy, "Somebody
Lied," will he released shortly.
' .eorge Randolph Chester, author
and former editor-in-chief of Vita
graph, has been especially engaged
to edit and title "On the' Ranks of
the Wabash," Commodore Rlack-
ton's first Vitagraph release. An all-
star cast includes : Mary Carr, James
Morrison, Burr Mcintosh. Mary
McLaren, Madge Evans and Lutns-
den Hare.
Locations in both California and
New York will probably be used by
Cecil B. De Mille in the filming of
his next picture. "Triumph." which
is to be started soon. The present
plans call for the making of interiors
in California and the exteriors in
Xew York. "Triumph" was a Satur-
day Evening Post story by May Ed-
ginton and is being adapted by her
for the screen.
Truth is said to be stranger than
fiction and fickle fate to play pecu-
liar caprices, with all of which. Elsie
Geib. waitress in the lunchroom at
the Cosmopolitan Studio is now
ready to agree. For Elsie has under-
gone a metamorphosis that has her
sister waitresses all abuzz with ex-
citement. A fairy wand recently
touched her checking pad and con-
verted it into a movie make-up box
and her ears have been attuned from
"Pie a la mode, Miss" to "On the set
Miss Geib." For Elsie has crystal-
ized into a real honest-to-goodness
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Grand Opera stars have been trained by their
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movie actress and is now experienc-
ing the thrill of appearing in support
of Marion Davies.
The romance of Elsie had its in-
ception just prior to the making of a
big scene in "Yolanda" representing
a silk carnival in the fifteenth cen-
tury and called for a number of
young women in serving-booths.
Tom Kennedy, assistant casting di-
rector at Cosmopolitan, had hap-
pened into the lunchroom, and, notic-
ing, the poise, easy grace and good
looks of the waitress, was suddenly
struck with the idea that she might
qualify for a "bit" in the serving-
booth. According to other players
Elsie has come through with flying
colors. Does she like the flickering
films? Well, Elsie declares her
''ham and " days are gone for-
ever.
Sig Schlager, official film represen-
tative for Irene Castle, has an-
nounced that the dancer is planning
to return to the studio and Klieg
lights for another series of pictures.
Miss Castle is at the present time on
tour with a dancing-act as part of
her show. Robert Tremaine, her
husband, is her manager as well. It
is understood that Miss Castle is
still married. . . .
Lou Tellegen, after an absence of
about four years, is going to return
to the screen. He will appear in J.
Stuart Blackton's next production,
"Let Not Man Put Asunder,"
adapted from the novel by Basil
King. Mr. Tellegen has been ap-
pearing for the past year or more as
a headliner on the Orpheum and
Keith vaudeville circuits. A selec-
tion of equal importance has been
made for the chief feminine role.
Pauline Frederick having also been
lured back to the screen for the part
after an absence of about two years.
Both stars, it is reported, have been
engaged for the one picture only.
Whitman Bennett announces that
his next special production, follow-
ing "The Leavenworth Case," by
Anna Katherine Green, will be an-
other American story, but of an en-
tirely different nature. The subject
will be "The Hoosier Schoolmaster."
by Edward Eggleston, and Mr. Ben-
nett has acquired the rights direct
from the heirs of the author. This
book, written by a Yankee who has
been on a visit to friends in Indiana
was the first Hoosier novel — the
forerunner of many famous stories
of that district now familiar to
readers.
Some spectacular scenes were shot
last week by Director Flynn, who is
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here making exti i : "Nellie
the Beautiful I loak Model" \\ hich
l\v) ii is producing.
\ those w Ik i i ecall the old Al
Wood melodrama u ill recollect, the
climax of the picture is when Claire
Windsor, as the beautiful heroine, is
Strapped to the elevated tracks by
tlu- villain i pla\ ed h\ I e\\ ( 'ody >
with the express train grinding
ftly tow ard her. 1 >irector l'l\ nn
spent several days working on the
ress track of the Ninth \venue
ited line and obtained some satis
facto! \ -hots.
Anothet thrill was furnished b)
Flynn himself, lie began life as a
taxi driver, and when the story called
the machine carrying the hero.
Edmund Lowe to .rash into the rear
taxicab, Mr. I'lynn himself took
the wheel. » ioing at a speed
thirty miles an hour he struck the
rear of the taxi and then sent the
wrecked car spinning against an elec-
tric-light pole. \Tobody was injured.
but an anxious moment was endured
by Mr. I. owe. sitting in the rear seat
and unaware oi what was about to
happen
"Nellie the Beautiful Cloak
Model" will show many views of
New York life. ( >ne moment an
ambulance (supposed to be carrying
the maimed body of Hobart B
worth) speeds thru heavy Fifth
Avenue traffic. Another time there
an auto chase thru Broadway
"with the villain still pursuing her."
Riverside Drive, and the tenement
districts have also been utilized.
We have derived considerable sat-
isfaction from the fact that lately, a
great many stage and screen stars are
giving subscriptions to Classic as
Christmas gifts. A propos of that, a
curious coincidence has just hap-
pened. A certain popular star, whose
name we cannot give for obvious rea-
sons, ordered Classic sent to another
popular star, ditto. The recipient
had also been seized with the same
pleasant idea and the original giver
of Classic will be the getter of
Classic on Christmas day! We
know another mo vie star who sends
ten subscriptions yearly to the pris-
ons and charity hospitals. And
sometimes with that in mind, we try
to jazz our book up a little. . . .
All of which. i> very pleasant and
gratifying to report.
THEY OFTEN ARE
By Mary Carolyn Davies
^ou broke my heart— Fate brings to pass,
At that, a happy ending :
Tor. since, I've met another lass
V\ ho"s very good at mending !
YOU CAN PLAY THE
HAWAIIAN GUITAR,
JusfLiKe the Hawaiians!/
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Because Our Native Hawaiian
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H Set, I"
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JANUARY
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With thorough daily cleansing, as every skin
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1 Butter Plate. 6 in.
1 Vegetable Dish,
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FURNITURE
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1924 brings an abundance of
Paramount Pictures
Compare values and you will follow the Paramount trademark
To know how to get better entertainment just compare
pictures, point by point.
Story-interest! — maybe that's the biggest thing. No story
can become a Paramount Picture unless it is drenched with
the spirit of entertainment.
In acting and in the subtle art of the director you have
your own taste. Discover what a considerable amount of
the best of this reaches the screen of your theatre marked
Paramount.
Splendor of staging! Luxury of dressing! Brilliancy of
setting! You experienced fans have actually come to take these
for granted in every Paramount Picture that requires them.
Many Paramount Pictures have been the outstanding suc-
cesses of '23. "The Covered Wagon" loomed up as the
biggest planet ever seen in the sky of entertainment!
1924 will see an abundance of Paramount Pictures. The
excitement created by Cecil de Mille's production "The
Ten Commandments" will take seasons to die down. Many
other great new Paramount Pictures are coming.
Take the trouble to note the brand names of pictures.
Do it and you'll appreciate that the name Paramount is a
sure guide to the best show in town.
FAMOUS PLAYERSIASKY CORPORATION
AOOLPH ZUKOR.Pws'rffnt
A James Cruze production with Edward
Horton, Theodore Roberts, Helen Jerome
Eddy and Louise Dresser. From the play
by George S. Kaufman and Marc Con-
nelly. Written for the screen by Walter
Woods.
"Big Brother"
An Allan Dwan production with Tom
Moore, Raymond Hatton and Edith Rob-
erts. Written for the screen by Paul Sloane.
"Don't Call it Love"
A William de Mille production with Agnes
Ayres, Jack Holt, Nita Naldi, Theodore
Kosloff and Rod La Rocque. From the
novel "Rita Coventry" by Julian Street.
Written for the screen by Clara Beranger.
" West of the Water Tower"
Starring GLENN HUNTER, with Ernest
Torrence and May McAvoy. Supported
by George Fawcett and Zasu Pitts. Di-
rected by Rollin Sturgeon. Adapted by
Doris Schroeder from the novel by Homer
Croy.
"Flaming Barriers"
A George Melford production, with Jac-
queline Logan, Antonio Moreno, Walter
Hiers. By Byron Morgan. Adapted by
Jack Cunningham.
"The Heritage of the Desert"
An Irvin Willatt production, with Bebe
Daniels, Ernest Torrence, Noah Beery and
Lloyd Hughes. Written for the screen by
Albert Shelby Le Vino.
"The Humming Bird"
Starring GLORIA SW ANSON. A Sidney
Olcott production. From the play by
Maude Fulton. Screen play by Forrest
Halsey.
"Pied Piper Malone"
Starring THOMAS MEIGHAN. Sup-
ported by Lois Wilson and George Faw-
cett. By Booth Tarkington. Directed by
Alfred E. Green. Adapted by Tom Ge-
raghty.
I
UlJUlJlJUUUUULrUUUUUUUU^
{paramount Pictures
If it's a Paramount Picture it's the best show in town!
inrvinnnnrvTruTrirtnnu^^
(Four)
1
Qassic
PICTORIAL OF SCREEN AND STAGE
A UKEWSIER I'UHI.ICA I K)N
Vol. XVIII
FEBRUARY, 1924
No. 6
Cbvi i; PoBTRAIT — Li] u\\ GlSH
Painted by E. Dahl from a photograph by Kenneth Mexander
Now That Winter's Here— An editorial 11
Ci issk 's Favorites
Music Hath Charms- -To sooth the savage cinemese Maude ( heatham . 14
Mme. Olga Petrova, A new camera study of the brilliant Pole 1"
The Mutual Admiration Society, Blanche Sweet and Marshall Neilan Harry Cart
Odious Comparisons, Between the stage and screen "Scaramouche" 20
The Thing We Cant Escape in the Movies l-.Uloti AY//.
The Powers Behind the Screen, The fifth and last instalment Stanton LeeA
La Pucelle, Famous 1 leroines No. 5. I '• >la Negri as Joan .it' Vrc
Au Sauce Piquante, A picture page
Tiger Rose, Told in short-story form Dorothy 1><»ih,:
Rhythm and Rebellion, An interview Maude Cheathan
When Lubitsch Directs ..." //
On Location, Literally all <.\ er the world 4<i
Ci \-~-n: Considers — The great and the near great 43
W. Somerset Maugham Is With Us Again />'. / . Wilson 44
The Photographer Takes the Stage, Highlights of the theatrical season 45
The World's Most Famous Nose, Is in "Cyrano de Bergerac," the play of
t ho month Kenneth Macgoxvan 48
The Movie of the Month, I s " Vnna Christie" Laurence Reid 4°
The Celluloid Critic, Mr. Reid pfoes to the movies 5<i
Hollywood Homes, June Mathis' 52
Iris In, Pertinent and impertinent screen chatter //. //'. Hanemann 54
The Immortal Clown, Striking and original photographic studies of Larry Semon 55
Flashes From the Eastern Stars, Of the stage, on the screen ( aught by the Editoi
The Yankee Consul, Fictionized by Worman Bruci
The Rejected Suitor, An English imitation of a popular American 6.1
Dixit, Richard l)i\ does Dorothy DonucU 64
The Hollywood Boulevardier Chats Harry Carr 66
The Movie Encyclopedia By the Answer Man 70
ription $2.50 per year, in advance, including postage, in the United States, Tuba. Mexico and Philippine Islands. In Canada
Foreign Countries $::."(> inr year. Single copies 25 cents postage prepaid. United States Government stamps accepted.
Subscribers must notify us at once of any change in address, giving both old and new address.
Pi bushed Monthly by Brewster Publications, Inc., at Jamaica, N. Y.
Entered at the Post Office at Jamaica, N. Y., as second-class matter, under the act of March 3rd, 1879. Printed in U. S. A.
Eugene V. Brewster, President and Editor-in-Chief; Guy L. Harrington. Vice-President and Business Manager; L. G. Conlon, Treasurer;
E. M. Heinemann, Secretary.
EXECUTIVE and EDITORIAL OFFICES, 175 DUFFIELD ST., BROOKLYN, N. Y.
Copyright, J924, by Brewster Publications, Inc., in the United States and Great Britain.
SUSAN ELIZABETH BRADY, Editor
Adele Whitely Fletcher Managing Editor
Harry Carr Western Representative
A. M. Hopf muller Art Director
Duncan A. Dobie Director of Advertising
Classic comes out on the 12th of every month. Motion Picture Magazine on the 1st, Bkawty on the 16th
Announcement for March
Fortunate Misfortunes is the title of an absorbingly interesting story on the lame,
the halt, the blind, the grotesque and the abnormal who have made a pil^rima^e to
Hollywood, and made a fortune from Hollywood. You have seen all these lucky
misfits on the screen. . . .
Jim Tulley has written a most beautiful and understanding story on that still
unfathomed semis of the screen. Charlie Chaplin. John Decker has illustrated it
with a cartoon signed by Charlie himself. . . .
Classic, in its dual role of Stage and Screen Pictorial, offers the greatest number and
the most beautifully reproduced pictures of any other magazine in its class If it's
beautiful, it's in Classic. . . .
K
3
(Five)
Current Stage Plays
{Readers in distant towns will do well to preserve tliis list for reference when
these spoken plays appear in their vicinity.)
Ambassador. — "The Dancers." Gerald Du
Manner's old-time British melodrama is both smart
and picturesque. Richard Bennett, Florence Eld-
ridge and Kathleen MacDonnell play the principal
roles. Mr. Bennett's daughter, Barbara, is the
most audacious of the dancing girls.
. I polio. — "Poppy." A musical comedy concerning
a strolling swindler and his daughter; W. G. Fields
and Madge Kennedy in the leading roles.
Belasco. — "Laugh, Clown, Laugh !" An English
version of Fausto Martini's "Ridi, Pagliaccio,"
Lionel Barrymore's characterization of the love-
lorn clown who is forced to give up Simonctta, the
girl he loves, because she loves another, is a stirring
performance. Irene Fenwick plays the role of
Simonctta. Barrymorc is superb.
Belmont.— "Tarnish." A finely acted play about a once idle
rich family, now fallen to a state where the salary of the daughter
keeps the wolf from the door. Ann Harding does some excellent
acting as the daughter.
Bijou.— "The Whole Town's Talking." A farce by John
Emerson and Anita Loos, well-known motion-picture scenarists,
written around a movie director who ignores the Eighteenth
Amendment.
Booth. — "The Seventh Heaven." Hand-made on melodramatic
pattern in a Montmartre tenement in Paris, of an admixture of
love, regeneration, humor and unreality. An excellent perform-
ance with Helen Menken starring.
Broadhurst. — "Topics of 1923." Shubert's new spectacular revue
of dance music, and beauty, brings back the charming -French
comedienne, Alice Delysia. The cast includes many other well-
known and popular principals.
Carroll. — "Kid Boots." Eddie Cantor in a musical comedy
glorifying the game of golf. The cast includes Mary Eaton and
many others and a large Ziegfeld chorus.
Casino. — "Wildflower," in which the lovely Edith Day flashes
thru an exquisite musical score.
Century. — "The Miracle." A spectacular pantomime by Dr.
Karl Voilmoeller, with Lady Diana Manners, Werner Kraus and
Maria Carmi. Personally staged and directed by Prof. Max
Reinhardt.
Colonial. — "Runnin' Wild." A negro revue. The cast includes
F. E. Miller and A. L. Lyles, the stars who helped make "Shuffle
Along" a success.
Comedy. — "The Shame Woman," by Lulu Vollmer, author of
"Sun Up," is also a story about the Carolina mountain folk, in
which a small-town Lothario wrecks the lives of two ignorant and
innocent mountain girls, one the foster daughter of the other
Extremely well acted.
Cort. — "The Swan." Eva Le Gallienne and an all-star cast in
Ferenc Molnar's comedy of romance and imaginary royalty. Not
at all "Graustarkian," however. Very
subtle, witty, deft, sophisticated in per-
formance and lines. Typically Molnar
and as brilliant and unsatisfactory as
Shaw.
Daly's. — "Sharlee." A musical comedy
by Harry L. Cort and George L. Stoddard,
with Juliette Day, a most charming hero-
ine. The cast also includes Ottilie Corday,
Eddie Nelson, Frances Arms and Sydney
Grant.
Elliott. — "Rain." A bitter tragedy by
Somerset Maugham ; a violent attack on
the repressions of Puritanism. Jeanne
Eagels is superb in the leading role.
Eltinge. — "Spring Cleaning." A tense
and bitterly comic drama exposing the
depravity of the degenerate rich and the
general stupidity of preoccupied husbands.
The cast includes Arthur Byron, Violet
Heming, A. K. Matthews and Estelle
Winwood, a quartet of notable leading
men and women.
Classic Lists the Plays in New
York That You Should See
"i?
Tarnish
The Swan
Sancho Panza
Stepping Stones
Cyrano de Bergerac
Laugh, Clown, Laugh!
Empire. — "The Lady." An indictment against "the
stage-door Johnny" in which Mary Nash, as the
dance-hall girl and later as the grey -haired mother,
points a new way to become The Lady. A fine piece
of emotional acting, a play full of the atmosphere of
France, its locale, wit, and humor.
Forty-ninth. — "For All of Us." A comedy given
to moralizing, in which William Hodge, the author,
plays the role of the laborer, who chances into a rich
home, the members of which have permitted their
lives to become somewhat entangled and, in a varying
Irish accent, conveys the message of right thinking
and right action as cures for bodily ills and sets three
lives straight.
France. — "The Heart of Cellini." Anthony Whar-
ton's play with Lionel Atwill and Elsie Mackay.
Frolic. — "Hurricane." A strange and interesting play dealing
with prostitution, by Olga Petrova, with Olga Petrova, I.
Willoughby, John Kingsberry, Camilla Dalberg and others.
Fulton. — "One Kiss." An operetta from the French about a
love affair in which the young man's father and the girl's mother
pretend to be wealthy, altho both are very poor. When the parents
learn the truth about each other, they try to break up the match,
but the girl wins over a rich uncle and gets a fortune for her lad
and all ends well.
Gaiety. — "Aren't We All?" Cyril Maude in a delightful light
comedy that revolves around a philandering husband and an in-
discreet wife. Mr. Maude in a Grumpyish character sets a rare
pace of fun and his support keeps it up.
Garrick. — "The Failures." A strange and fascinating play from
the French of Lenormand in which all its characters are failures.
One, a young poet, marries a girl who becomes an actress with a
small road company and later makes the last sacrifice and yields
to a casual admirer in order to provide for her husband. Jacob
Ben Ami, Dudley Digges and Winifred Lenihan are included in
the cast.
(7/ofrc— "Stepping Stones." One of the best of Fred St<
musical comedies, in which his daughter, Dorothy, does some
exceptionally good dancing and singing and rivals her own father.
Grccnzvich Village. — "White Cargo." Leon Gordon's vivid play
about a young Englishman who succumbs to the wiles of a half-
breed in the absence of white women on the West coast of Africa.
The cast includes Conway Wingfield, Richard Stevenson and A. E.
Anson.
Harris. — "The Nervous Wreck." An excellent farce by Owen
Davis. Otto Kruger plays the part of the nervous wreck, a young
clerk, sent West to cure himself of the diseases he imagines he
has. He wishes to be left alone to die peacefully, but June
Walker, as the entrancing heroine, tries to run away with him
and thus starts an endless amount of trouble for him.
Hudson. — "Sancho Panza." A drama in which the story divides
honors with the ballet. It deals with
Sancho Panza as governor of the City of
Barataria and offers a colorful role for
Otis Skinner. Romantic and utterly
charming.
Imperial. — "Mary Jane McKane." A
musical comedy by Oscar Hammersteiii
2nd and William Cary Duncan, with Mary
Hay, Hal Skelly. Dallas Wei ford, Kitty
Kelly, Stanley Ridges and Eva Clark.
Jolson's. — "The Blue Bird." Maeter-
linck's fantasy of our search for happiness
replete with pictures of the most weird
and beautiful things of earth and the most
mystifying things of heaven— a fairy tale
for the children — exquisite mysticism for
the adult.
Klaw. — "Meet the Wife." A bright and
witty comedy about a modern mother who
is rushing the engagement of her daughter
to a dumb young artist while she is really
in love with a New York newspaper re-
(Continucd on page 8)
(Six)
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(Scien)
MOVIE STAR TEARS
UP HER CONTRACT
WORTH $250,000
Samuel Goldwyn Has Turned
Author, and In His Book "Behind
the Screen" Many Startling
Secrets Are Told.
Every
Movie Fan
Should Have
a Copy of
This Book
"Behind the Screen" is the book of
the day, in the world of motion
pictures. Delightfully entertaining,
astoundingly personal, exceedingly
educational — "Behind the Screen"
cannot help but win your instant
approval.
Most of the "Stars" have worked
for Mr. Goldwyn and he knows
them as well as they know them-
selves. He has fought with them
over contracts — he has dined with
them in their homes — and in his
book he takes you, actually, Behind
the Screen.
All who read this book will have
many a good laugh — and perhaps a
cry or two. Your copy is waiting
for you at a bargain price. The
regular price is $2.50.
$5.00 Value For
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So thoroughly does the Motion
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"Pictures" an opportunity to obtain
a copy of Mr. Goldwyn's book at a
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Current Stage Plays
{.Continued from page 6)
porter. The performances of Mary Bo-
land, as the mother, and Eleanor Griffith,
as the daughter, are perfect.
Knickerbocker. — "The Lullaby." An
Edward Knoblock drama starring Flor-
ence Reed. This is the story of a sinning
woman's life, seventy-five years of il.
Liberty. — "The Rise of Rosie O'Reilly."
A lively musical comedy by George M.
Cohan, with Virginia O'Brien, Emma
Haig, Jack McGowan, Bobby Watson and
others.
Little. — "Chicken Feed." A comedy
dealing with small-town life, setting for-
ward what happens about the fifteenth
year of married life. Roberta Arnold is
featured.
Longacre. — "Little Jessie James." A
musical comedy with Nan Halperin as
Little Jessie. The Paul Whiteman band,
dubbed the "James Boys," takes care of
the orchestration.
Lyceum. — "Little Miss Bluebeard." A
diverting musical drama in which the
piquant comedienne, Irene Bordoni, is
equipped with four delightful songs and
twice that number of delightful gowns.
The climax reveals a situation that comes
as a complete surprise to nine-tenths of the
audience.
Henry Miller. — "The Changelings." A
comedy by Lee Wilson Dodd. The cast
includes Henry Miller, the producer,
Blanche Bates, Ruth Chatterton, and
Laura Hope Crews.
Morosco. — "The Other Rose." A com-
edy by George Middleton, adapted from
the French of Edouard Bourdet, with Fay
Bainter, Henry Hull, Effie Shannon and
Carlotta Monterey.
Music Box. — "Music Box Revue." A
new edition of Irving Berlin's extravagant
display of beauty and humor.
National. — "Cyrano de Bergerac." Wal-
ter Hampden in a perfect interpretation of
Rostand's poetizing, swashbuckling hero
with a grotesque nose who is in love with
his cousin Roxane (Carroll McComas).
The piece is beautifully mounted and
thoroly worth seeing.
Nezv Amsterdam. — "Ziegfeld Follies."
The 1923 edition of the Follies has many
of the famous vaudeville headliners, in-
cluding Bert Wheeler, and a wealth of
beautiful girls.
Palace. — Keith Vaudeville. Always a
good bill, and drawing more and more
talent from the headliners of the regulars.
Playhouse. — "Chains." A drama in
which the heroine (Helen Gahagan) in-
sists upon bearing her share of the blame
following an affair with a young man.
Plymouth. — "The Potters." A stimulat-
ing domestic comedy by J. P. McEvoy,
with Mary Carroll, Donald Meek and
Catherine Calhoun Doucet.
Princess. — "Sun Up." A passionate
tragedy of the North Carolina mountain
folk. The widow Cagle is superbly played
by Lucile La Verne.
Punch and Judy. — "Go West, Young-
Man." A satirical comedy. Poorly acted
with the exception of one member of the
cast, a sweet and pretty newcomer, Kay
Johnson.
Republic. — "Abie's Irish Rose." An
amusing study in temperaments of the
Irish and Jew in which the irreconcilable
is reconciled thru emotion. Terrible, but
incredibly popular.
Rits. — "The Business Widow." A com-
edy from the German of Alexander Engel
and Hans Sassman, adapted by Gladys
Unaier, with Leo Ditrichstein, Lola Fisher,
Adrienne Morrison, John Davidson, Mar-
jorie Wood, Elwood Bostwick, Gaby
Fleury and others.
Selwyn.— "Mr. Battling Buttler." A
peppy musical comedy about a husband
who impersonates a prize-fighter having
tlie same name as his, which enables him
to steal away from his wile on many
supposed training trips. Very funny.
Shubert. — "Artists and Models." A
revue; the professional version of the
Illustrators' Show. It includes sketches by
James Montgomery Flagg, Henry Wag-
staff Cribble and Clarence Buddington
Kelland. Adele Klaer, who acts, paints
and writes poetry has the lead.
Thirty-ninth Street. — "The Alarm
Clock." A comedy adapted by Avery
Hopwood, from the French of Maurice
Hennequin and Roman Coolus. The cast
includes Blanche Ring, Bruce McRae,
Marion Coakly and others.
Times Square. — "Pelleas and Melisande."
Jane Cowl looking as beautiful as a fairy-
book princess and Rollo Peters almost as
beautiful as John B'arrymore in "The
Jest" of a few seasons ago. Everybody
looks beautiful and acts well, but the play
is disappointing, the fault of the play-
wright, one Maurice Maeterlinck. Too
bad, because a great deal of money and
brains have been spent on the production.
Vandcrbilt. — "In the Next Room." Mrs.
August Belmont offers a thrilling melo-
drama which centers about the mysterious
.murder of two men in the "next room."
What Percy Hammond refers to as the
"Who-done-it? drama." Better than the
best of this breed.
Winter Garden. — "Greenwich Village
Follies." Fifth edition. Typical John
Murray Anderson revue ; much beauty, a
little music, less wit. Glorified vaudeville.
OSTIA
By Gordon Malherbe Hillman
Red-golden was the galley and her sail was
dark as wine,
Her oars were flashing silver and her mast
was carven pine,
With awnings rich in silken stuffs; amber,
white and corn,
By Ostia, by Ostia, before the breath of
dawn !
Clean from the salt of marshes, with her
prow like a burnished brand
Set straight for the dim-seen watchers on
the wall above the sand,
Whipped by the slashing spindrift and
blinded by the spray
We drove her into Ostia before the break
of day !
Right gallant was the harbor in the glitter
of the dawn
With sails in blue and crimson and the
roadstead dull saffron,
And all the flags aflutter before a haze of
trees,
And rolling Roman sailormen asleep along
the quays!
TO A CERTAIN MAN
By Mary»Carolyn Davies
You are not worth two women's thought,
Too small a man to make such stir ;
For this, and not because I ought,
I give you up to her.
I have no will to be unkind,
Only relief that all is done ;
I can but hope that she will find
Enough in you for one.
(Eight)
She Dares to TeUtheTruth
About Love and Marriage/
Elinor Glyn, famous author of "Three Weeks," has written an
■mazing book that should be read by every man and woman
- manned or single. "The Philosophy of Love" is not a novel
— it is a penetrating searchlight fearlessly turned on the most
intimate relations of men and women. Read below how you can
get this daring book al our risk without advancing a penny.
WILL you marry the mar.
you love, or will you take
the one you can get?
I i husband stops loving his
r. becomes infatuated with
another woman, who is to blame
— the husband, the wife, or the
"other woman? "
Will you win the girl you want ,
or will Fate select your Mate?
Should a bride tell her husband
what happened at seventeen?
Will you be able to hold the
love of the one you cherish — or
will your marriageend in divorce?
Doyouknowhowtomakepeople likeyou?
IF you can answer the above questions —
if yoi» know all there is to know about
winning a woman's heart or holding; a
man's affections — you don't need "The
Philosophy of Love." But if you are in
doubt — if you don't know just how to
handle your husband, or satisfy your wife,
or win the devotion of the one you care
for — then you must get this wonderful
book. You can't afford to take chances
with your happiness.
What Do YOU Know
About Love?
DO you know how to win the one you
love? Do you know why husbands,
with devoted, virtuous wives, often be-
come secret slaves to creatures of another
"world" — and how to prevent it? Why do
some men antagonize women, rinding them-
selves beating against a stone wall in affairs
of love? When is it dangerous to disregard
convention? Do you know how to curb a
headstrong man, or are you the victim of
men's whims?
ELINOR GLYN
The Oracle of Love
What Every Man and
Woman Should Know
-how to win the man
you love,
-now to win the girl you
want,
-how to hold your hus-
band's love
-how to make people
admire you.
-why "petting parties"
destroy the capacity
for true love,
-why many marriages
end in despair,
-how to hold a woman's
affection,
-how to keep a husband
home nights,
-things that turn men
■gainst you.
to make marriage
a perpetual honey-
moon.
—the "dancer year" of
married life.
— how to ignite love —
how to keep it naming
— how to rekindle It
if burnt out.
— how to cope with the
"hunting instinct" in
men.
— how to attract people
you like.
— why sonic men and
women are alwa> s lov-
able, regardless of age.
— are there any real
grounds for divorce?
— how to increase your
desirability in a man's
eye.
— how to tell if someone
really loves you.
— things that make a
woman "cheap" or
"common."
1 to you know how to re-
tain a man's affection always?
J low to attract men? Do you
know the things that mo4 irri-
tate a man? Or disgust a woman?
Can you tell when a man really
loves you — or must you take
his word for it? Do you know
what you MIST NOT DO un-
less you want to he a "wall
flower" or an "old maid"? Do
you know the little things that
make women like you? Why do
"wonderful lovers" often be-
come thoughtless husbands soon
after marriage — and how can
the wife prevent it? Do you know how to
make marriage a perpetual honeymoon?
In "The Philosophy of Love," Elinor
Glyn courageously solves the most vital
problems of love and marriage. She places a
magnifying glass unflinchingly on the most
intimate relations of men and women. No
detail, no matter how avoided by others,
is spared. She warns you gravely, she sug-
gests wisely, she explains fully.
"The Philosophy of Love" is one of the
most daring books ever written. It had
to be. A book of this type, to be of real
value, could not mince words. Every prob-
lem had to be faced with utter honesty,
deep sincerity, and resolute courage. But
while Madame Glyn calls a spade a spade
— while she deals with strong emotions
and passions in her frank, fearless man-
ner— she nevertheless handles her subject
so tenderly and sacredly that the book
can safely be read by any man or woman.
In fact, anyone over eighteen should be
compelled to read "The Philosophy of
Love"; for, while ignorance may some-
times be bliss, it is folly of the most danger-
ous sort to be ignorant of the problems of
love and marriage. As one mother wrote us:
"I wish I had read this book when I was a
young girl — it would have saved me a lot
of misery and suffering. "
Certain shallow-minded persons may
condemn "The Philosophy of Love." Any-
thing of such an unusual character generally
is. But Madame Glyn is content to rest her
world wide reputation on this book — the
greatest masterpiece of love ever attempted !
SEND NO MONEY
YOU need not advance a single penny
for "The Philosophy of Love." Simply
fill out the coupon below — or write a letter
— and the book will be sent to you on ap-
proval. When the postman delivers the
book to your door — when it is actually in
your hands — pay him only $1.98, plus a
few pennies postage, and the book is yours.
Go over it to your heart's content — read
it from cover to cover — and, if you are not
more than pleased, simply send the book
back in good condition within five day3
and your money will be refunded instantly.
Over 75,000,000 people have read Elinor
Glyn's stories or have seen them in the
movies. Her books sell like magic. "The
Philosophy of Love" is the supreme culmi-
nation of her brilliant career. It is destined
to sell in huge quantities. Everybody will
talk about it everywhere. So it will be ex-
ceedingly difficult to keep the book in print.
It is possible that the present edition may
be exhausted, and you may be compelled
to wait for your copy, unless you mail the
coupon below AT ONCE. We do not say
this to hurry you — it is the truth.
Get your pencil — fill out the coupon
NOW. Mail it to The Authors' Press,
Auburn, N. Y., before it is too late. Then
be prepared to read the most daring book
ever written!
I~r
The Authors* Press. Dcpt. 416, Auburn, N. Y
Please send me on approval Elinor Glyn's master-
piece. "The Philosophy of Love." When the post-
man delix'crs the book to my door. I will pay him
only Si.o8, plus a few pennies postage. It is under-
stood, however, that thi.» is not to be considered a
purchase. If the book does not in every way come
up to expectation?. I reserve the right to return it
any time within five days nfter it u received, and
you agree to refund my money.
n
TV Luxe leather Edition— We have prepare*] a Lin r
tion. handsomely hound tn Roval Blue lienuine Leather and
l-ttrrrd in Cold, with Cold Topi and Hlur Silk Marin
ptp#n»B spared— makes a fforireous gift. If you prefer this
I -ather edition — a* moat people do — simply *i«?n below,
place a cross in the little square at the right, and par
the postman only S2.98 plus poscajre.
□
Name
your name and address plainly)
< it j ind State.
IMPORTANT
i possible that you mar not be at home
cost man call*. *end cash in advance. Also if you re-
tide outside the U S. A., payment mu-t be made in advance
Reirular Edition 12.12 Leather Edition, ti.tl. Ci.-h with
■ cou
J
(Nine)
After Thirty— ran a woman still gain
the charm ofJ4 Skin You Love to Touch "?
OOME women have a
better complexion at
thirty or thirty-five than
they ever had in their
twenties.
The reason is simply
that they have learned to
take better care of their
skin.
At twenty, contrary to
popular tradition, a girl's
complexion is often at
its worst.
Too many sweets —
late hours — and, above
all, neglect of a few
simple rules of skin hy-
giene, result in a dull,
sallow color, disfiguring
blemishes, and ugly little
blackheads.
By giving your skin
the right care you can
often gain a lovelier skin
at thirty than you ever
had before.
Remember that each
day your skin is chang-
ing; old skin dies and new takes its
place. Whatever your complexion
has been in the past — by beginning,
now, to give this new skin the
treatment it needs, you can gradu-
ally build up a fresh, clear, radiant
complexion.
The cause of blackheads
and blemishes
Blackheads are caused by dirt and
oil collecting in the pores of your
skin. A large-pored skin, or one
that is much exposed to dust and
soft'Coal smoke, is especially sus-
ceptible to blackheads. Blemishes
are generally the result of infection
from bacteria carried by dust into
the pores.
Don't neglect delects like black-
Copyright. 1923, by The Andrew Jergens Co.
Often the best of life doesn't begin for a woman until she
is thirty. Often it is only then that she begins to realize
herself and her otvn possibilities. Don 't think of your age,
ivhatever it is, as a limitation — think of it as an oppor-
tunity! Use the knowledge you hare gained from life to
overcome past faults and disadvantages. Make up your
mind to be lovelier every year — and you will be!
A Special Treatment for
Blackheads
Every night before retiring,
apply hot cloths to your face
until the skin is reddened.
Then with a rough wash-
cloth work up a heavy lather
of Woodbury's Facial Soap
and rub it into the pores
thoroughly, always with an
upward and outward mo-
tion. Rinse with clear hot
water.then with cold. If pos-
sible rub your face for thirty
seconds with a piece of ice.
To remove blackheads al-
ready formed, substitute a
flesh brush for thewashcloth
in this treatment. Then pro-
tect the fingers with a hand-
kerchief and press out the
blackheads.
Special treatments for each
different skin need are given
in the booklet, "A Skin You
Love to Touch," which is
wrapped around every cake
of Woodbury's Facial Soap.
Follow the treatment you
need regularly and see how
much clearer your skin will
become and what a world of
difference it will make in its
attractiveness.
heads or blemishes. They can easily
be overcome by the following two
treatments : —
To Free your Skin from Blemishes
Just before you go to bed, wash in your
usual way with warm water and Wood-
bury's Facial Soap, finishing with a dash
of cold water. Then dip the tips of your
fingers in warm water and rub them on
the cake of Woodbury's until they are
covered with a heavy, cream-like lather.
Cover each blemish with a thick coat of
this and leave it on for ten minutes, then
rinse very carefully, first with clear hot
water, then with cold.
Use this treatment until the blem-
ishes have disappeared, then con-
tinue to give your face, every night,
a thorough bath in the regular
Woodbury way, with Woodbury's
Facial Soap and warm water, end-
ing with a dash of cold water. In
this way you can guard against a re-
appearance of the blemishes.
Get a cake of Woodbury's
today, at any drug store or
toilet goods counter. A 25-cent cake
of Woodbury's lasts a month or six
weeks for regular use, including any
of the special Woodbury treatments.
Woodbury's also comes in convenient
3-cake boxes'
Three Woodbury skin preparations
— guest size — for 10 cents
The Andrew jergens Co.
902 Spring Grove Ave., Cincinnati. Ohio
For the enclosed 10 cents — Please send me a
miniature set of the Woodbury skin prep-
arations, containing:
A trial size cake of Woodbury's Facial Soap
A sample tube of Woodbury's Facial Cream
A sample box of Woodbury's Facial Powder
Together with the treatment booklet, "A Skin You
Love to Touch. "
If you live in Canada, address The Andrew
Jergens Co.. Limited, 902 Sherbrooke St.,
Perth, Ontario. English Agentt.H. C Quelch
&Co.,4LudgateSquare, London, E. C 4.
Name
Street ,
City
State.
Cut out this coupon and send it to us today
(Ten)
#
'.
. ».-** *
'■' •"■rfk
>»
RV
^*\
r
Now That Winter's Here —
"IF winter comes, can spring be far behind — " was first the thought
of a poet, and then a novelist took it for the theme of his story.
Now we are moved thereby, to a brief, humble editorial.
For winter is here, in fact and fancy, for numberless motion-picture
workers. The shut-down of so many of the big studios, even tho it is
temporary, has turned the world upside down for great and small alike in
this industry. But, of course, anyone with half an eye could see that things
could not go on the way they were : with production costs mounting higher
and higher; pictures in quantity piling up and piling up: salaries going the
same gait from prop boy up ; time, meaning money being flung away ;
competition forcing the expenditure of unprecedented sums, and so on and
so forth, ad nauseam.
Now there never was a great revolution accomplished without the
shedding of blood. No change, however trivial, has ever taken place
without a disturbance of some sort. There can be no readjustment with-
out pain. And you who. are down in the valley now, who are out of jobs
and facing the chill of an unknown future, no matter how intolerable you
find the situation, take heart. The discomfort and suffering is only a
question of time — nothing else ; and when you know a thing is temporary
and will pass, you can stand it. If one just finds the courage to stick it
out — why spring will come again, and the movies and its great army of
adherents will once more take their rightful places in the sun.
These things we know to be true.
^raph by Aug. Rupp, Berlin
u
(Eleven)
White Studio
Billie Burke
Not content to be the beautiful wife of the most noted beauty
connoisseur in the country, Mrs. Florenz Ziegfeld, profession-
ally known as Billie Burke, must add new laurels to her
crown each year in the drama. This year she opens late in
a comedy whose title is not yet announced
(Twelve)
Classic's
Favorites
These Two Men Are Classic'^
Favorite Movie Stars and We
Dont Care Who Knows It
Photographs by Richee
Theodore Roberts is the d.*an of
cinema character actors. He has
played more fathers, uncles and
grandfathers than any other man
on the screen. He is lovable,
crotchety, irascible, endearing, un-
reasonable, peppery, gallant and
adorable as the case may be. He
has just completed "The Ten Com-
mandments," in which he portrayed
the patriarch Moses with great
dramatic dignity. Just at present
he is on tour in vaudeville
The spectacular rise to
fame on the screen of
Ernest Torrence is
known to everyone.
From the lightest of
musical-comedy come-
dians he became the
heaviest of moving-
picture villains. He is
booked up for months
ahead always. In "The
Covered Wagon," altho
he was unregenerate to
the end, he had his en-
dearing moments, and
in "Ruggles of Red
Gap" he was wholly
amusing. In "West of
the Water Tower" he
has a profoundly mov-
ing part — a disappoint-
ed father. We, person-
ally, go to see any pic-
ture that boasts of him
in its cast
'Thirteen)
Music
Hath
Charms
By
MAUDE CHEATHAM
A great deal of fun is poked
at the necessity for music as
an aid to emotion, but it
really serves a practical pur-
pose. Left is Gladys Hulette
having her heart stirred by
the studio orchestra. Below
is Marshall Neilan's string
quartette, of which he makes
persistent use in all his
pictures. This shot was
taken during the making of
"The Rendez-vous"
" /~\ F all the liberal arts," said Napoleon the Great,
I J "it is music which has the greatest influence
^~>^ over the passions."
This pertinent comment is recalled as we contemplate
an illuminating phase of the motion-picture industry,
which is the development of music as a technical tool,
both in the filming and presentation of photoplays.
Music and drama have always been more or less closely
allied and as far back as Shakespeare and his fellow
dramatists of the Elizabethan period — which was pre-
eminently an age of minstrelsy — plays were studded with
exquisite lyrics to be sung to music. In
fact, in glancing thru Shakespeare's
few stage directions there will be found
many such orders as "Music and Song,"
clearly showing his idea of combining
the two arts in telling a story.
The dramatic use "of music probably
had its birth in the early melodramas
which interpolated incidental melodies to
create atmosphere and heighten certain
effects. The suggestion of the raging
storm — the villain's deadly work and the
pensive home - coming of the lovely
heroine — all these were intensified by de-
scriptive music. It glorified the love
scenes too, endowing them with the
glamour of romance that even the clever-
est actor and stage setting failed to meet.
Every human emotion has its own
musical note, or perhaps a combination
of notes that coincides and emphasizes its
meaning.
Richard Wagner's wonderful success
in setting great dramatic themes to music-
is given a concise description by Bernard
Shaw, an ardent admirer of the composer.
He says: "The main leading motifs are
so emphatically impressed upon the ear
while the spectator is following a strong
dramatic expression that a requisite association is formed
unconsciously."
This is precisely what is being done today in motion
pictures.
To Geraldine Farrar is given the credit of first realizing
the tremendous aid music brings to actors and directors
in their work before the camera.
When she began filming her operatic success, "Carmen/'
Miss Farrar found it impossible to get into the spirit of
the story without the familiar music and asked that the
score be played in the studio the same as if she were
(Fourteen)
illg III till' lllC.lli ! \o\\ tin-'
seldom a -mil demanding emotional
ression i I wit is made without ap
iate musical setting
The great studios in I loll) wood
ilarl) emplo) mans skilled mu
ins, read\ \\ itli a large repei I
in ordei to inert .ill dramatic exi
While 1 irge orchestras are Fre-
quentl) neede<l for certain elaborate
es, the usual combination con-
- of a piano or movable organ,
in and cello, which furnishes the
accompaniment for tie tense mo-
ments that thrill thousands of film
s thruout the world.
Under tins influence the actor
loves his self -consciousness and
readily drops into a natural grace, as
well as responding to the rhythm,
emotionally.
It quickens the blood that warms
the heart and tho the wise ones
insist that its appeal is only to the
emotions— never binding the intelli-
gence, for it carries no definite ideas,
it certainly creates eloquent hack-
At the top of the page is
Glenn Hunter making a scene
from "West of the Water
Tower." Note the three
musicians doing their best to
help Glenn toward the proper
mood. Above is Jane Novak
playing for Victor Schert-
zinger and her sister Eva on
the studio organ. It doesn't
seem to be going so well.
Right: Music is a very pleas-
ant accompaniment to kiss-
ing, we are sure Monte Blue
thinks, and doubtless Irene
Rich finds it pleasant too —
the music, we mean
grounds upon which the sentiments and passions play.
Cecil De Mille keeps a violinist on his pay-roll the vcar
around and uses this music for every scene. When the
occasion demands it. he adds other instruments. This
he does entirely for his players and he allows them to
choose their favorite selections.
He believes, however, that music lessens the director's
critical capacity, which should be ever active, and I have
seen him many times sitting with his fingers in his
as he watched a scene being filmed to the seductive
music of a splendid orchestra. For this reason too. Mr.
De Mille insists that his players keep their voices pitched
very low — he does not want to be swayed by the quality
of their tones, which form a subtle avenue for emo-
tional expression — and one to which he is peculiarly
susceptible.
(Fifteen)
CLASSIC
Left: Ruth Dickey
and her ten-piece
orchestra were
transported on sand
sleds to the sandy
desertlike location
Cecil De Mille se-
lected for some of
the scenes of "The
Ten Command-
ments." In the pic-
ture Charles de
Roche and Leatrice
Joy take a hand to
"s p e 1 1" the musi-
cians. Below is
Eric von Stroheim
and his regular or-
chestra on a peak of
the P a n a m i n t
mountains on the
edge of "D e a t h
Valley." Altho heat
prostrations threat-
ened, they played
away for the suc-
cessful climax of
"Greed"
He often tells his cast: "Remember, cameras have
no ears. Act your feelings. Dont be content to speak
them. When the picture is shown on the screen, it must
stand on the acting and nothing else."
In his new mammoth production, "The Ten Command-
ments." music has become one of the several fascinating
elements in the upbuilding of the various periods in
which Mr. De Mille seeks to interpret the Mosaic Law.
Fred Niblo always has music when directing his master-
pieces. In studying the reactions of his actors to this
influence he has made a significant discovery. Said he :
"I find that women respond far more readily to
melodies played in the lower register and men
to those pitched in the treble. This is but
the natural psychological attraction
of masculine and feminine in
tone."
With an eight-piece orches-
tra playing the dramatic arias
from "Pagliacci," as in-
spiration for a series of
tragic scenes being made
by the strolling players
in his new production,
"Scaramouche," Rex
Ingram stopped to re-
mark that everyone
responds to music to
some degree.
"I know little of the
technique of this art,"
said Mr. Ingram, "yet \
a Wagnerian opera
stirs me tremendously.
While I invariably use
music in my scenes, delv-
ing into the preferences
and prejudices of my play-
ers to find what moves them,
I believe it must be used care-
fully, for it gives a false stimulus
to the action. Sensitive natures de-
pend upon the emotionalism of the
music to carry their scene rather than their
own acting. They are so swayed by the rhythm
that they think they are expressing it thru pantomime
when in reality they are merely feeling and their body
is placid."
The many-sided brilliance of Eric von Stroheim would
naturally include a knowledge of music. He plays the
violin like a professional and brings to it that vitality that
characterizes his other achievements. Understanding
music and human nature so perfectly, this genius arranges
his music scores as he plans his continuity, practically
making an opera of his pictures while filming them.
(Continued on page 86)
(Sixteen)
Mme. Olga Petrova
Tow nsrn'i
This brilliant Polish woman has trifled with many arts, obtaining a measure of success
in all she has touched. At once a playwright, an actress, an author, a poet, a producer
and director, a magnificent poseuse, she still retains a beautiful feminine charm and an
incomparable social grace. Someone has said that glamour never happens on women
who do things. But Olga Petrova is glamourous. She is at present on tour acting in
a condensed version of her own play, "The Hurricane"
(Seventeen j
The Mutual
Admiration
Society
By
HARRY CARR
Blanche Sweet takes two pages to tell
what she thinks of her husband; but
Marshall Neilan heeded only two lines
to tell what he feels about his wife
Left is a recent portrait of "the most extraordi-
nary personality on the screen," Blanche Sweet.
Below, as Anna Christie in O'Neill's drama of
that name
AMI
Edwin Bower Hesser
I HAVE always wondered about
these stars who are directed by
their own husbands.
Whether at the breakfast table the
lord and master tastes the coffee and
says : "This is worse than your close-
up in that love scene in the third
reel."
Or if perhaps she waits until he
gets his face iathered and he is slid-
ing down the difficult slope north of
the upper lip before she reproaches
him with giving all the good scenes
to the vamp lady in the picture.
Well, Blanche Sweet says not.
Positively no.
Her husband is Marshall Neilan.
A great many picture experts agree
with Blanche that he is the one great
genius that the cinema has thus far
produced.
He and Blanche have been in
pictures together since the early
Biograph days when she was a little
dancer called in for a special scene in
one of the first Griffith pictures and
""Mickie" was a boy driving an auto-
mobile.
The writers of "success stories"
like to refer to Marshall Neilan as
the chauffeur who became one of the
greatest directors in the world. Far
be it from me to crush the illusions
and artistic yearnings of any gent
now piloting a taxicab ; but the fact
is Mickie was an actor and the
ravishingly handsome young Valen-
tino of his day on the screen while
(Eighteen >
,'l ASSH
still ,i mere bo) 1 1 is auto < areei was
But, anyhow, this is what Blanche u
■ i |i,\ are .ill w i ong about Mi< kie
iround the studio thinks that Mickie
less, happ\ go-luck) idlei who drif
to the studio and just sorl of ma
thing up as he goes along.
I used to think so myself unti
were mai i ied.
" rhe fact is that Mickie is doing 1
hardest work when he appears to be
pla\ ing
"I can always tell at home when
he is working out a big scene in his
mind. Our home life straightwa)
takes on an atmosphere of jazz
and excitement.
"Mickie whuis me a round to
jazz emporiums at loud and un-
usual hours of the night. W e
dance at ro.nl houses and Mickie
to the best fox
trotters and we whirl thru
a round oi pleasure until 1 am
positively dazed and dizzy.
"1 have learned from e\
perience to know that at these
times. Mickie is working out
some big situation in a big story.
"There are many minds — big,
creative minds which work like
this.
"No doubt there are some crea-
tive writers who need quiet and
Left is another "Anna Christie
character study. On another pag
this photoplay is discussed as th
best of the month. Below is th
Irish "Mickie" Neilan who rank
among the first ten directors o
the screen
Kvans
solitude: but the Mickie Neilans of this world nt;<<\
the stimulus of motion and excitement. It seen
rouse their thoughts and stimulate their imaginations
— just as a race-horse needs another horse
pace-maker.
"Mickie very seldom talks about his pictures al
home. I am glad he doesn't. It would be miserable
to have a home life made up of Kleig lights and bab)
spots and scenarios.
"Sometimes he brings up the subject of some play
and discusses the situation. In the earlier days of our
married life I used to torture my brain trying to help
him with these situations. I know better now. 1
know from experience that he never really talks of
the play he is thinking about. When he talks of one.
I know that he is working out the details of -
other one. So 1 have learned that the way 1 can best
help the family fortunes is to sleep with my bool
my bedside like a fireman and be ready to go tearing
around the dance halls and the jazz places while im
talented husband wrestles with the muse.
"Sometimes it takes Mickie a long tithe to work
out a story. 1 know that he had the idea of "The
{Continued on penn S4 |
{Nineteen^
Odious
and Pictorial
The "Scaramouche"
Of the Stage
It is interesting and a bit exciting to have two
"Scaramouches" running on Broadway at the
same time. It invites — no — it challenges com-
parison. Indeed, it makes comparison inevitable.
Classic, which serves the interests of both stage
and screen, finds itself in a difficult position — for
one "Scaramouche" is unquestionably superior to
the other. Making due allowance for the limita-
tions of both mediums, we believe the motion-
picjure the finer, truer and more entertaining
White Studios
This is Sidney
Blackmer him-
self and above,
in the charac-
ter of Andre-
Louis Moreau.
To us he is
still Sidney
BLackmer, a
rather earnest,
serious - mind-
ed, likable chap
Goldberg
White Studios
Above is Margalo Gillmore as Aline
de Kercadiou, who makes of her a
pretty, petulant, sweetly feminine
and altogether human and under-
standable person. She looks as pretty
as it is humanly possible in the lovely
soft colors of her billowing costumes,
but she did suggest the ladies that
conceal boudoir lamps, telephones,
powder boxes and so forth
(Twenty)
-a
Comparisons
Contrasts
I*he ' 'Scaramouche"
Of tho Screen
Ramon Novarro in the title role is satisfyingly
picturesque and disturbing. He swashbuckles a
bit, is scornful and sardonic at times, romantic
and tender at others. At no time does ohe get a
thrill out of Blackmer's Scaramouche. It is
kindly and gentle, quietly determined, persistently
idealistic and not very exciting. This does not
seem to us consistent with the character, who, if
you recall, 'was born with the gift of laughter
and a sense that the world was mad"
Hoover Art Studios
This is Alice Terry as the Lady Aline
de Kercadiou, the beloved of Andre-
Louis. There was a consistent
hauteur and dignity in her perform-
ance, tho we found it less moving
than Miss Gillmore's. Even lacking
the undeniable aid of color, she was
surpassingly pretty. The white wig
also helped the illusion of the period
Melbourne Spurr
This is Ramon
Novarro him-
self, and we
call your at-
tention to the
similarity in
pose and cos-
tume with
Sidney Black-
mer across
the page.
Above is his
Scaramouche,
a romantically
youthful and
beautiful
figure
ty-one :
The Things
We Cant Escape
in the Movies
Drawings and Text
by Eldon Kelley
HE ALWAYS GETS HIS MAN
It is practically assured from the first reel that no half-breed
trader, however bent on trouble, can cope with one of the
Northwest Mounted Policemen. No thrill here
THE CHILD WHO
BRINGS THEM
TOGETHER
Lonely Wall Street
husband — Social
Butterfly wife —
about to live their
own lives when —
"Daddy, is dat my
mumsie?" lisps the
little child. Hus-
band, wife and audi-
ence break down
THE SUPERPRODUC-
TION, "WHAT ARE THE
WILD WIVES DOING?"
Containing for the most part
a cut-back to ancient Egypt
(including a few news-reel
shots of the late lamented
Tut-ankh-Amen's tomb) and
showing Cleopatra in all her
glory — and little else
(Twenty- two)
'Something old,
Nothing new —
Much that's horrowed.
Naught that's truer'
(With apologies to whoever said it first)
THE RURAL DRAMMER
Showing the indispensable picket fence and the compromis-
ing situation that makes it hot for the gal. Ye Gods and
little Gishes!
THE COSTUME FLOOD
Imogene, the daughter, mind you, of an effete
aristocracy, disguises herself in boots and
britches and indulges in numerous imbroglios.
No one penetrates' her disguise — but the
audience
THE INEVITABLE
WALL STREET
STORY
Adolphus Mugg,
financier and only
father of the
beautiful Miss
Mugg, has just
lost all on the
street. Little does
he dream that the
man who ruined
him is the news-
boy he thought-
lessly ran over
years before in
his Rplls Royce.
Does the young
man marry Miss
Mugg before the
show is over? Of
course!
"S
THE
CINDERELLA
STORY
"Oh," she cap-
tions, "how you
frightened me."
Poor thing, she
is working as a
servant in the
mansion of her
aunt, who has
bilked her out of
her rightful for-
tune. Does she
fall in love with
the rich young
man next door?
Ten guesses!
(Twenty- three)
The Powers Behind the Screen
Who's Who in the Motion-Picture Business
By STANTON LEEDS
Editor's Note. — This is the fifth and last of the series of five articles on the busi-
ness end of the motion picture and a discussion and a description of the truly great
personalities that have put the movies on the map
w<=
AT
O.
about the boy politician, the pride of the
P. — what about Will H. Hays? In ducking
out of politics for a fat job in motion pictures
did he sell his Indiana birthright for a mess of pottage?
Should he have stuck to the Cabinet, strung along with
President Harding, or was being boss of the screen worth
more, as his friends declare?
Meanwhile, is he boss of the screen ? Hardly. With
men like Adolph Zukor, Qarl Laemmle, William Fox,
to say nothing of William Randolph Hearst and Frank
J. Godsol with their reorganized Goldwyn company, and
entirely forgetting a dozen or so other fast steppers
already in power or rapidly getting there — with these in
the motion-picture game is it likely a Republican poli-
tician is bossing the works?
It is not. The truth is that Mr. Hays is working with
these men, his backers and employers, and using his keen
political sense, his gift for maintaining harmony, to their
advantage and the screen's. Outside of his original mis-
take, his calm acceptance of the weird belief that there
was something the matter with pictures, that they were
really naughty, his backers seem to feel that he has done
very well.
But the assumption, very generally taken for granted
thruout the country, that so far as motion pictures
are concerned Mr. Will H. Hays is it in the sense
that Judge Landis is it in baseball — this assumption is
mistaken. The power behind the screen lies elsewhere.
It is vested in such as Zukor,
whose history is the history of
the growth of pictures from
nickelodeon to a big-ten, three-
ring circus ; in men like
William Fox, who has fought
it alone; in such as Carl
Laemmle and his right-hand
bower, R. H. Cochrane; in
such an amazing and vari-
ously gifted person as William
Randolph Hearst who, when
asked if there were money in
pictures, replied, "my money
is in them."
There are others, but for
the moment consider these —
consider Carl Laemmle in
particular. During these ten
years when Zukor has been
large in the limelight, during
this time when H. E. Aitken
and many others disappeared
altogether from the field, dur-
ing this time that saw at
least the temporary eclipse of
such men as Samuel Goldwyn,
P. A. Powers, R. A. Rowland,
W. W. Hodkinson, Lewis
Selznick, J. D. Williams, R. S.
Cole, J. Stuart Blackton and
so on — during this time
Laemmle has persisted.
Undeniably one of the "Powers," is Carl Laemmle,
president of the Universal Pictures Corporation
People got into the way of shouting at his pictures,
Universal pictures, "cheap." But Universal went right
on. Others made more expensive pictures. Others went
under. Laemmle and Universal went on. Year in, year
out, with the pace pulling this, that and the other runner,
Laemmle kept them coming to see his pictures.
The price seemed to please them, and the pictures, and
when, all of a sudden, out of a clear sky, this same Carl
Laemmle produced the most expensive picture ever made,
it seemed time to seek information concerning this in-
dividual who kept his head above water where so many
others had drowned.
It seems that the man knows figures. Others may guess
about art and have all sorts of notions, but he, Carl
Laemmle, bases his ideas on bed-rock, facts, the food of
the fattest bankrolls. Also he remembers actual pictures.
Knowing what they paid, he has a fair notion of what
other pictures will pay if they follow similar lines, for,
after all, the number of possible plots is strictly limited.
In short, the hot air that artists and dreamers are given
to — this doesn't bother Laemmle. He has (and right in
his head) the statistics.
All morning he studies these same statistics. In the
afternoon he sees anyone who calls. If the idea stands
the acid test of the figures, it's a Universal idea.
An entirely different type, William Fox is generally
credited with being himself the best film editor in the
business. Before the time of pictures, he had a small
vaudeville circuit and he saw
the possibility of using films
in those same theaters. Rather
than be dependent, he got into
the habit of making his own
pictures. In more ways than
one, they are his very own.
Either assertively masculine
or correspondingly feminine,
they have a quality that keeps
audiences saying, "if that
isn't the truth!"
Their humanity, their story
value, however, is only part of
the story so far as William
Fox is concerned. From
political life, he picked as a
partner a young Irishman, a
former reporter and once
secretary to the Police Com-
missioner of New York, Win-
field R. Sheehan. A man
whose abilities are so extraor-
dinary, whose vision is so
far-sighted that he has been
given, to hold him, almost a
controlling interest in the Fox
enterprises, the boyish appear-
ing Winnie Sheehan is one of
the comers in pictures, one of
that industry's assets.
His future is problematical,
{Continued on page 85)
*
(Twenty-four)
La Pucelle
JOAN OF ARC, THE MAID OF ORLEANS
Famous Heroines No. V. Posed by Pola Negri
Everyone knows of the peasant girl of Domremy who watched her sheep on the hillside
and saw the visions that raised her from the ranks of common mortals; that fired her
with the divine determination to free her country of the English yoke; that placed her
at the. head of the armies of France, which she led to unforgetable victory. She was
finally betrayed into the hands of her enemies and burned at the stake in 1431, when
she was just nineteen years old. Her true story reads like a golden legend. Her
martyrdom was the most shameful in history, but her glory redeems the dark past.
( Twenty- fire )
Foreign
Cineman Glances Over
Above is a scene from a
German film called "Such Are
Men." Mr. Ziegfeld's influence
seems to have extended to the
Eastern hemisphere. Right is
the beautiful Russian star, Mme.
Kovanko, who has the lead in
a photoplay based on Tur-
genef's "The Song of Love
Triumphant"
FRANCE
THERE are certain advantages in failure
and the failure of French films to conquer
the American market, tho marking a defi-
nite commercial setback for French .producers,
is already beginning to show artistic benefits
which might have been much longer in develop-
ing had the effort to invade America been suc-
cessful. t As pointed out last month, French as
well as other foreign producers, with the vast
transatlantic market luring them, have been
concocting film monstrosities supposedly con-
ceived after the American pattern but in the
end failing to be either American or anything
else ; a mongrel product in
which American invention
was grotesquely travestied
and European artistrx
basely betrayed. The mis-
take of the foreign produc-
ers was that they chose to
compete with America in
the one field in which they
had no chance, lavishness
of production, while they
ignored the one element
which alone could place
them on a footing with
American productions, the
advantages of Old World
background and Old World
artistry. This error has
evidently been perceived
now, and the result, so far
as France is concerned, is a
series of films which, diverging widely from the American
standard, yet can hold its head up beside the best American
productions. The completeness of the about-face in French
film methods may be seen in the fact that within the last
two or three months at least half a dozen productions have
appeared in which extreme simplicity of setting is the rule
and in which the native soil is dramatized and native talent
is given the full burden of the film.
A beginning in this direction, and a most successful one,
was made with "Crainquebille," Anatole France's master-
piece, with the star role entrusted to De Feraudy, one of the
Above is Pedro de Cordoba in an
English film, "I Will Repay." Right
is a scene from the picture version
of Mallarme's immortal poem,
"Genevieve"
(Twenty-sir)
Films
Tho European Studios
neatest character actors in Prance. I
foot of this film is French, with no effort to
disguise us nationality, and the result was thai
it was sold at once for the American market
This success has paved the wa> for a aeri<
productions in the same manner, real native
products, both subject and treatment faithful
to the -"il and spirit of France, ^mong the
new films of this kind arc "Little Jacques,"
[tales Claretie's classic, a French "Oliver
Twist" with a strong strain of Gallic intensity
running thru it; "Genevieve," Mallarme's
classic pastoral romance, picturized with all its
beauty and poetry charmingly preserved; "The
Urchin of Paris." a homely, humorous
domestic drama which loses
none of its interest tor be-
ing written for an older
generation . "Faith fill
Heart." the traged) of a
French port town against a
sombre background of har-
bor life ; and several other
films of a kindred nature.
Pictorially, "< renevieve"
is perhaps the most beauti-
ful of the series, the pho-
tography and poetic treat-
ment being faultless, but
e m o t i o n al 1 y "L i t tl e
Jacques" is the most effec-
tive. The story is hardly
original, verging on the
melodramatic, but it is so
well told, so truthfully ex-
ecuted, as to give the nar-
rative the quality of stirring reality. The picture is a great
advance over the abortive efforts d /'. linerieaine which pre-
ceded it.
ITALY
Simultaneously with the French reversion to native sub-
jects and native treatment, the Italian producers reveal a
similar tendency, after having exploited, like the other
European producers, ill-starred efforts to make films in the
(Continued on page 81)
Above is a Russian picture
based on the life of the great
Shakespearean actor. It is called
simply, "Kean." Left is a ven-
detta about to be consummated.
It is from an Italian film called
"Supreme Love." Below is a
Swedish picture romantically
titled "The Eyes of Love"
Left is a bit from a French film, so
typically French in every aspect that
one might call it "one hundred per
cent. French"
(Twenty- seven >
Au
Sauce
Piquante
Cinema Spice for
Jaded Appetites
.Melbourne Spurr
Some of us like
our movies highly
seasoned, and then
again some of us
can take them or
leave them alone.
We for one, like
them well flavored.
It saves mental
indigestion any-
way. We dont go
to the movies to
be put to sleep, but
to be entertained,
and no one can
deny the entertain-
ment v a 1 u e — per
capita, we'd better
say — of this page
Nickolas Muray
Clarence S. Bull
Upper left: Norma Talmadge
as an Ouled-Nail dancing girl
in "Dust of Desire" is most
provocatively beautiful.
Above: Jean Haskell, a little
Goldwyn treasure, gives a
pleasant tang to many an
otherwise flat movie. Left:
Dolores Rousse, a delicious
bit from Fox's box of spices
(Twenty-eight)
THREE men. that golden
morning in Northern
Canada, were thinking of
one thing, a woman, and they
thought of her according to
their three points of view. To
Michael Devlin, of the North-
west Mounted, a woman was
something to be possessed. He
had known — and possessed
many in his thirty hard-lived
years, but none like this one,
wild and elusive and, for all of her life lived among
trappers, miners, drunken Indians, fiercely virginal. Rose
Bocion . . . the hoofs of his horse on the hard forest
path beat out the name, Rose, a blossom to be plucked.
a fragrance to give delight or what were roses — or
women — for?
With hot, desirous memory he conjured her up now
and she danced before him down the path, the sun
sprinkled on her dark hair, the young curves of her,
the lips that invited, the eyes that mocked, and the look
of his face was not good to see. "Damn her!" he
muttered, "she gets into a man's blood! I'm drunk with
her. She's, a fever I've had since that day I found her
on her raft drifting toward the Anger o' God Rapids and
brought her ashore to the Trading Post. That gave
me a right to her, didn't it? I thought she felt it, too,
but last night "
His great hand with the white furrow of an old wound
across it tightened on the reins with the suggestion of
crushing something. Last night he had held her in his
arms, and it had been like clasping the wind. She had
not been there. And when he had demanded of Mc-
Collins, the old factor who had adopted her, the meaning
of the change, he sensed in her, that canny Scot had been
evasive and taken refuge in philosophizing.
"The mair I know wummen the less I know about
'em ! But one thing certain, they dont gie their love for a
debt that is owed but for a gift whaur they will."
Michael Devlin uttered an oath, and because his
Tiger Rose
Written in Short-Story Form
by '
DOROTHY DONNELL
instinct was the simple primi
five one of hurting when he
felt pain he lashed at hi-*
patient horse. "If it's that
dude engineer chap. Norton.
I'll teach him to meddle with
what's mine!" he muttered.
"When I get back from this
trip I'll settle it— I didn't drag
her out of the river for him
to kiss "
In the Company's Store.
McCollins the factor was thinking about Rose too; the
anxious, timid thoughts of old age which knows humbly
that it is helpless to aid youth because it speaks another
language. He had lived a long existence here in the
Northland, he had read few books, known few people,
yet he had seen Life. When he thought of Rose Bocion
he thought of her as a duty, something to be guarded,
protected, a flower to be sheltered from harsh storms.
'"Tis a hard thing." he reflected as he sorted the
settlement mail which had just arrived by canoe, "that
we must pay so dear for experience in this world and
then 'tis no use to anyone; we cant gie it to them we lo'e.
I hae ma doots about this young city mon. He doesna be-
long up here and Rose does. An' there's a look in her eyes
these days that wummen dont wear unless the thocht o'
some mon puts it there. But there's nae use meddlin' wi'
young folks. They must cut their own fingers before
they can learn that a knife can hurt, an' there's the pity !"
The other man who was thinking of Rose Bocion wa»
tall and good to look at. and wore his rough homespun
with an easy grace, all of which the girl was aware of.
tho she was not looking at him as she sat on the
broken oak limb swinging her feet and singing a wild
folk-song about a maiden who loved a loupyarou
To Bruce Norton, engineer in charge of the railroad
surveyors, women in general were something of a
nuisance; in particular, incomprehensible creatures of
mysterious moods who wanted to marry one. But this
girl before him, with her naive remarks, her amazing
(Twenty-nine)
simplicity and her beauty which was half that of a wild
wood creature, and half the age-old lure of Eve. vaguely
disturbed him. Rose . . . Rose, a flower of the forest
instead of the garden. Last night, in his board shack he
had written a poem about her, called her "Tiger Rose."
"You know about thas loupgarou?" she asked, paus-
ing abruptly in her song. Under the elfin masses of her
hair her eyes grew wide and solemn, her voice dropped
a full octave to the deeps of awe, "he is ver' bad to fall
in love wiz, because on'y half he is nize han'some young
man and the res' of the time he is a wolf. The loup-
garou eat the heart ri' out of a girl who love wiz heem.
Yes, thas so ! Ask anybody !"
Bruce leaned against a tree, arms folded, watching the
play of emotion on the vivid face under lazy eyelids.
"You dont believe that, Rose! Aren't you a Christian?"
She nodded with conviction, "Yas, I'm a Christian,
sure as hell !" she affirmed, and looked startled at his
shout of laughter, "all the
same I know what I know !
Me, I saw a woman thas
had her heart eaten by the
loupgarou — always she put
the hand over the place
where the wolf man hurt
her, always she hunt for
heem wiz face that mek
like this !" Amazingly the
young, fresh curves before
his eyes took on haggard-
ness, the eyes were haunt-
ing wells of tragedy. Bruce
TIGER ROSE
Fictionized by permission from Warner Brothers'
production of the adaptation by Edmund Goulding
of the play by Willard Mack. Directed by Sydney
Franklin and personally supervised by David
Belasco. The cast, starring Lenore Ulric:
Rose Bocion ("Tiger Rose") Lenore Ulric
Michael Devlin Forrest Stanley
Father Thibault. . .' Joseph Dowling
Pierre Andre De Beranger
Dr. Cusick Sam De Grasse
Bruce Norton Theodore Von Eltz
CLASSIC
Michael Devlin of the
Northwest Mounted
finds Rose Bocion drift-
ing down the river on
a raft toward the
Anger o' God Rapids,
pulls her out just in
time, carries her back
to the trading post,
where she collapses
Norton straightened
as tho a whip lash
of memory had
flicked him on the
heart. His face grew
grim.
"There are men
who make a woman
look like that — damn
them !" he said slowly,
"I knew one once.
Wolf man fits him
very well. Wolves are
dangerous. They
should be killed."
He got hold of him-
self hurriedly, smiled
at her. "Go on ! Tell
me more. I know
you're not Mr. Mc-
Collins' real daughter,
but I dont know
whose daughter you
are. Perhaps you just
growed like Topsy —
that's the way you
seem, like a part of
all this " his ges-
ture brought the
dappled forest, the
blue rushing river
with the surveyors staking out a line along it, the far hills
into the woods.
Sitting lightly, swinging her feet in their Indian moc-
casins, Rose told him her simple Odyssey, her lonely child-
hood in the 'far deep woods with only her trapper father
and the tame wildcat for companionship, her father's
death "I buried heem," she said simply, "the ground
was froze and it was ver' hard work. He wanted a priest
to read prayers before he died. He theenk mebbe he go
to hell wizout. Me, I don' theenk so. Monsieur le bon Dicu
is a gentilhomtne."
What a child she was, Bruce thought, feeling her words
tug at his heart. Before such marvelous simplicity he
felt old and disillusioned and paternal. He was only
twenty- four, and one can be older at twenty- four than
at any other age. "Then you came to the settlements?"
he prompted, for she had fallen into one of her rich
silences. That was the reason he had noticed her first
and taken her from his
general category of women
who talked incessantly. If
Rose hadn't anything to
say, she said nothing.
"I mek a raft," she nod-
ded, "but the river he is
ver' bad. I goin' be drown
mebbe but Michael Devlin
hear me yell and comes.
Papa McCollins got no
daughter. I stay. Thas
five year now."
"Michael Devlin," Bruce
(Thirty)
i ISSIC
frowned, "the big Mounted, eh I suppose you
ml to linn
Rose was puzzled Grat'ful: I don' know thas
fill-' He breeng me red ribbons from the beeg town.
It mu>' be ver' nize in the town "
Bruce shook Ins head. "You'd hate il ! Nothing green
<>i sweet grey, dirt) -tone canyons where the sun nevei
ihines," be went on to p. nut a sordid picture of ugliness
and dirt and people, all hurrying, hating each other,
thinking of money, lighting each other for money, but
.it the end Rose onl) smiled She slid down from her
branch and stood before him, looking up with unwavering
"But you would be there," she said. "] tink me I lak
any place where you wire there too!'1
Under the tight jersey she wore her low breasts n
and fell swiftly. Her cheeks were the color of sun-
ripened fruit, but the warm tint did not deepen altho
Bruce Norton could feel himself blushing. She was not
such a child after all, seventeen or eighteen perhaps, and
lovel) enough to turn any man's head. He adopted a
fatherly tone, taking one hard little hand in his own.
"The place for Roses is out of doors, not shut up in stone
5! I'll send you a picture of the kind of houses
people live in in the city when I go back, houses like
mountains- — "
Terror sounded in her voice, "You're going away, yas?
Dont go! I love you — I love you lak hell !"
Bruce Norton stood still, staring startled into the im-
placable face of Memory. "Think what you came here to
do ! Think of the vow you
made beside your mother's
bed- your mother who died
of a broken heart ! Are you
free to play at love-making?"
As tho lie could forget
for more than a few mo-
ments at a time the thing
that had brought him up into
this wilderness, the thing
that had shadowed his youth,
the thing that lay between
him and any hope for the
future! But just for now.
just for a few days might
he not he free from it. free
to he young and happy ?
He lifted the brown little
paw he held and kissed the
back of it ceremoniously.
"1 in not going a\\a\ yet.
little Rose." he smiled, "you
dont mean what you just
said, of course. Some day
when you've grown up voull
marry Devlin or some one
who lives up here and be
very happy hut now before
I go we'll be friends, wont
we ?"
She looked at him slant-
ingly, hid her eyes behind
smooth creamv lids. " Ml
ri""
\oii lak (has Into ! . I lal- thl
Indian summci with its poignant hint
goldi • beauty and sunshine without pr<
future, made of the Northwest woods in th<
a magic place, an enchanted land to B
out yesterdays 01 tomorrows, P>< 1 ause he km
ness of lus momenl he made the mosl of it. While his
surveyors languidly drove then while th<
murmured a background to their voii
together under the trees and he talked .is he had n<
talked to anyone before, of the books thai h< had •
the shy unspoken DO) dreams he had dreamed
chatted too. in her quainl broken English, and made
wreaths of crimson and yellow maple leaves Her mood*
wire sudden in their changes, one moment sin
teasing elf. crowned with red haws, the next and sh<
become a tragedy queen reciting a weird folk I
And then one evening at dinner in the factor'- house
McCollinS said casual, ) : "We're tae have another I ni/en
in the settlement. Meester Norton, a mon frae your own
part o' the wurruld. The new company doctor 1- rooming
tomorrow. His name is Glendenning— Robert 'den
denning."
Bruce Norton laid down his knife and fork, hut said
nothing. Surprised at the silence, the old factor glanced
across the table and saw a strange thing; he saw a man die
before his eyes and go on breathing, Indeed in a mo
ment Norton spoke, too. about some trivial subject, but he
was a dead man speaking nevertheless, a man who had
definitely resigned his hold on life.
sighed Tiger Rose, "if
She came closer, her face
ghastly. "They 'ave foun'
heem?" "They haven't — yet,"
Cusick snapped, "the damn
fool could have gotten away —
but he said he had to come
back to see you. Where can
we hide him?"
(Thirty-one)
CLASSIC
Only at the end of the meal did he refer to the new
company doctor. "Tomorrow, I think you said Doctor
Glendenning was to arrive?"
McCollins nodded, puzzled. "Aye, he wrote that he
wud drive himself froom the Landing. He'll be here
by noon I'm thinkin'. Do ye — perhaps ye might be
knowin' him?"
Bruce Norton shook his head. His voice had an edge,
"I have never had the pleasure of meeting the doctor
personally. But I had a — a friend who knew him some
years ago. I — have heard of him."
He went out into the darkness and presently, not know-
ing where his steps were lea*- g him, he found himself
in the grove where he
had spent enchanted
hours this last week,
as a ghost returns to
the scene of old
happiness. The moon
was up now and in
the white light that
lay across the grass
he saw Rose, and as
she came toward him
he knew that she was
no longer a child or
an elf but a woman, a
woman to be held
close, to be kissed. . . .
He kept his arms
rigid at his sides for
Above: He started to
his feet with the groan
of a savage beast and
had made two bounds
for the door when the
revolver in Rose's hand
spoke shrewishly
fear that they might go out to her. "I am going away,
Rose," he tried to speak matter-of-factly, "I have some-
thing I must do "
Her cry stripped the words from his lips : "You tak'
me too ! I will be ver' good — I dont be any trouble.
You tak me !"
"I— cant "
She was Tiger Rose now, fighting for what she wanted.
"Ees it then some other girl? I will keel her — I will
scratch her dam face ! I will mek an image of her and
stick pins into her heart !"
Bruce held the quivering little figure by the wrists.
"There's no one else, Rose. I cant explain "
He felt the fierce-
ness ebb from her.
The small face under
the wild dark hair
seemed to shrink still
smaller : "Then — you
don' want me? Scuse
please — Michael Dev-
lin, he lak' me, I didn'
think "
Her agony awoke
echoes in his own
soul, taught him his
heart "No, no. Rose!
Not that, not that—
God, if I only could
stay with you, marry
you, live here all my
Left: Tiger Rose in
agonized suspense
watches the tramping
feet of her lover's
hunter until at last they
lead him up to bed.
But they soon came
back
(Thirty-two)
years " Somehow she «.i> in his arms 1 1 1* \ clung
thcr, two children frightened of the dark Against
haii Ik- whispered wild things, 1 >r . >U<.- 1 » word
tenderness, and at last a little of the truth Yean ago •»
man had wronged his sister, lefl her to die in disgi
l'lu- shock had killed their mother. He had been search
for the man ever since, and now he knew where
to find him. . . .
"1 see," riger Rose said quietly, "you d<> nol need
to tell me what you inns' <\o. But afterward — "
He shook his head dumbly, his hands, ^>n either side
Of her face straining it hack to his gaze as if he were
committing it to memory, "1 have given you my trouble
to hear." lie said bitterly, "1 ha\e made jPbu grow tip.
Rose Will you ever forgive m<
"Forgive? I don' know thas word." she smiled thru
her teats. "1 guess when you're in love wil
someone thas all the word you know !"
He did not ki>s her good-bye. be-
cause he knew that if he kissed her
he would nol .
A heavy-eyed Rose
pouring the factor's coffee
next morning when Mich J
Devlin, wearing his uni
form, a g g r essi vel y
brought his news.
"I'll be staying here
a few days, sir, if
you can put me up."
he announced, por-
tentously, "may he
y o U haven't
heard? There's
been murder'
done ! The new
company doctor
was shot early
this morning
between here
and the Land-
ing, and what's
more it's known
w h o did it !"
He shot a spite-
ful glance of
triumph at Rose:
"no more nor less
than the fine city
dude that's been
staying under your
roo f — one of the
Injuns s a w h i m
running thru the
woods',!"
McCollins' cup went
down with a clatter. "So
that was the meanin' of his
face last night! Deviin, I've
been a God-fearing mon a' ma
days, but yon laddie is no common
criminal. I hae na doot the
mon needed a bit o' killin' an
I'm dommed if I dont hope
Norton gets awa !"
The Mounted Policeman
laughed unpleasantly. "Small
chance! We've got fifty men
on horseback beating up the woods — he'll be behind bars
before night — ouch!" he uttered a yelp of anguish as
R.ose neatly overturned a cup of scalding coffee on
his hand.
The settlement joined the man hunt. All day the baying
The policeman's revolver in his hand, Bruce came
to the side of Tiger Rose. "My brave little girl!
But it's no good, dear. I've decided to face
the music"
Of dogt and tin- fai "It ihoUtl of till
the straining i • Bo< ioi d behind
i ounter in the i oni| weighed
out sugar, and measured ofl calico sh< ing to b
I e Bon I hell to let hei I
Dieu,.you couldn* htlp heem, but tnebbe You jus'
the other way one hi' minute "
I Hisk hiiti^ like cobweb* ui tl if the room
when Doctor Cusick, the settlement physician, •
closing the door behind him. He was a middle-aged man
with a face chiseled by old emotion «rorn
by Strong currents. lie spoke rapidly. "Rose, I think
you are a f^irl who can be trusted not to faint or go into
hysterics if 1 tell you something."
She came closer, face ghastly, "I hey 'ave foun1 htm?"
"They haven'l yet," Cusick snapped, "the damn fool
could have gotten away clean, but he cJlO
come back, said he had to see you again.
Well, love's a disease there's no cure
for but time! I found htm on the
hack road and brought him here.
under the buggy robes. Where
can we hide him ?"
She pointed to the trap-door
in the rough flooring.
"Down there among the
boxes Queek ! I
hear them come. Mon
Dieu. all the day I
'ave the great fear
but now I fear
nothing! Now
there is somesing
I can do "
( )ne moment she
stood folded in
Bruce Norton's
arms, then
violently s h e
thrust him
away. "W'e are
mad! Me. I
t'ink thas a dam
bad time for
mak' love."
"She's right, my
boy !" Cusick said
grimly, "^et down
into the cellar. To-
morrow we'll figure
some way to start
y o u toward the
Stat
The trap-door slid into
place. Rose turned to
the doctor. "W "y you do
eet ? W"y you help US?"
usick looked suddenly old.
"Because his shoes fit me!" he
answered' slowly, "if he hadn't
killed that skunk I should have.
You see Norton's sister hap-
pened to be — my wife. Hark!
neone's coming "
When Devlin opened the
door. Rose, humming a little
song, was measuring out
castor-oil with a steady hand.
Her face had lost its pallor, her eyes shone, she gave the
policeman a gay nod. "Mebbe you lak' the house to stan'
treat wiz this, yas? Bon nuit. Mis'eu Doctor! Come in
tomorrow and see w'y Papa got him seek in his back "
{Continued on page 78)
(Thirty-three)
Waxman
Eleanor Boardman
Tradition chained this young girl to a narrow
path, bound her to a past generation, linked her
with a staid old family atmosphere. But early
in life she asserted her right to be a person on
her own account and not just an echo of past
formality. A pretty pioneer, Eleanor!
(Thirty-four)
-J
Rhythm and
Rebellion
By
MAUDE CHEATHAM
Right is a recent portrait and below is Eleanor
Boardman's appealing Amelia Sedley in "Vanity
Fair." Her current picture is "The Day of Faith"
ELEANOR BOARDMAN spells Re-
bellion! You would never gins-, it
when you sec her on the screen in
those sweet, sympathetic roles that have
brought a delightful rhythm to a num-
ber of recent pictures.
"That's just it." wailed Eleanor, "They
always give me goody, goody parts when
1 would rather play characters "
I laughed. It was amusing to find
a girl with her lovely angelic face,
and eyes that flood quickly with
womanly tears, craving to mask her
charms in vampire and worldly I
It is nearly always the other way
Her rebellions date away hack.
In fact, they first hurst forth when
she suddenly discovered that her pio-
neer spirit had been placed in a staid
old Philadelphia atmosphere. Accord-
ing to the program, her life la) cut and
dried before her. Traditions chained
her to a narrow path.
When she asserted her indepetn'
to think for herself, which she fre-
quently did. she was rebuked. She
was expected to be merely an echo of
past generations.
"Families are a wonderful institution."
admitted Eleanor, "hut they have a dis-
ressing way of arresting any development
individuality. Seldom is a child given
freedom really to grow — to become a
nite personality."
magine the battles were spirited. She was
bird hopping about on the family limb,
at the sun and longing to try her wings
teen she ran away to .New York.
"For the first time I really breathed." she explained.
"Of course. I had a hard struggle. 1 expected this, and I
also had several bad experiences but these taught me to live.
(Thirty-f.tej
[ could feel myself waking up, a delicious sensation of vivid reali-
ties swept me along and I began to feel — to thrill — to grasp dimly
what it was all about. I think I had been numb before. And then
I found that life is very short when you begin to live — there is so
much to crowd into the days. Our span is so brief — in point of
years — we must fill it to the brim."
It wasn't very long before Miss Boardman landed in a Broadway
chorus, then she won a small part in Arthur Hopkins' "A Very
Good Young Man." She lived in a
dingy little boarding-house and
spent most of her salary on bal-
let lessons as a part of her
dramatic training.
This is illuminating, for a
it discloses the directness ,</
of her ambitions. To-
day, she is as slim and m
straight as a young
tree, with every
muscle in full co-
ordination ; she has
mastered that rarest
of all accomplish-
ments, a perfect
gliding walk in
which every move-
ment is of grace.
We'll admit that
Eleanor Boardman
forced her first steps
toward a career but her
sudden and phenomenal
jump into motion-pictures,
playing leading roles after
two films, shows she is a petted
child of the fairies.
CLASSIC
She was both down and out. She had
no job and no money ; things were hope-
lessly quiet in New York and she was
beginning to wonder if, after all, she wa<
to be beaten. And then came the won-
derful opportunity to come to California
with a chance at the Goldwyn studio.
She hasn't lost the thrill of it yet,
despite her level head and poise, and I
rather suspect she pinches herself some-
times, to see if it is really true.
After luncheon we drove up to her
home on Whitley Heights where she lives
alone with a funny little maid. Eleanor
says that people with opinions should
travel the single path.
The house is typical of its owner. It is
extremely artistic and there is a spacious-
ness in the large living-room with its
friendly fireplace, grand piano' and rows
of books. Long windows on three sides
offer magnificent views of Hollywood
and the hills. A few pieces of rare tap-
estry decorate the walls — "I hate new,
shiny things — they have no background."
she explained.
(Continued on page 76)
Upper left is Eleanor Board-
man in her own back yard.
Above, she tries to paint a little,
and we'll aver we'd like to 'sit
for her whether she knows how
or not. Left, a Waxman portrait-
(Thirty-six)
Nickolag .\fur.i%
Lowell Sherman
Who is the hero of one of the most picturesque and colorful dramatic successes on
the New York stage. That is "Casanova," in which he was billed as an "Arch-Rogue,"
but turned out to be rather a gentle than a villainous Casanova. It looks as tho he had
deserted the movies for good
(Thirty-seven)
The stars of "The Marriage Circle," which
Lubitsch is making for Warner Brothers.
They are: Marie Prevost, Adolphe Menjou,
Ernst Lubitsch, Monte Blue, Creighton Hale,
and Florence Vidor
When
Lubitsch
Directs
By HARRY CARR
WHEN Lubitsch is directing a picture, he has an
odd way of entertaining a visitor. At the end
of the scene, he comes over to where you sit and
gives you a little character sketch of the actor who has
been performing.
For instance, when Florence Vidor finished her scene
and the camera stopped clicking, he came over and painted
her psychic picture: "She haf beauty; but she got dis-
tinction ; she got good family. It show on the screen."
Which made us all wonder what he was going to say
about Marie Prevost. Marie has many ardent admirers,
but I think that even Marie
herse.lf gulped a little with
astonishment when
Lubitsch picked her as one
of the finest actresses he
has seen in America and
gave her the big part in
bis new picture, "The
Marriage Circle," upon
which he is staking his
career.
Marie Prevost says of Lubitsch: "To act even
one scene under Jiis direction is not only an educa-
tion but a revelation." Lubitsch says of Marie
Prevost: "She is a goot actress — she haf life und
animation und she got emotion. But she got
boomer too. No actress is goot in a heavy role
unless she haf got also a sense of hoomer."
"When 1 first came to America," said Herr Lubitsch,
"my position was a very difficult one. The war was just
over. I didn't know a soul. I arrived in Hollywood one
drizzling cold foggy night when it seemed that even the
climate was against me. As a matter of fact, I was
treated everywhere with kindness and sympathetic cor-
diality ; but, of course, I couldn't know that was going
to happen. Consequently, in my first picture, I had to
make all kinds of concessions to what they told me the
American people wanted. I made my first one that way.
This one I am going to make to please Lubitsch."
So, just as he tossed
away all the other stale
ideas that movie convention
had built, so he airily
ignored the actresses whom
Hollywood had stamped
"great" and picked out a
graduate bathing young'
lady for his great acting
part.
At the end of one of her
(Thirty-Eight)
CLASSIC
Irenes, Lubitsch came bustling oul of the
let, dragged me oul of the studio and
around l>ehind an alle) and explained
himself
"\K peechaai I donl know if he ia
^m>.l 1 [e cani know about a peechaar until
von see him on the screen but Marie
Prevost she is gi tot. She is a g
she li.it life and animation and sh<
emotion. But she got hoomer too. No
actress is goot in a heavy role unless they
i sense o\ hoomer, especiall) what
.ill vamps."
Marie, herself, is a very frank oul
■poken young lady. And being such, she
makes no secret of the fact that •die is
ered by what lias happened to her.
It isn't so long since Marie's chief claim
to artistic distinction consisted of the most
beautiful legs in the world. They got her
I job at Mack Sennett's old comedy lot.
Mario was sitting on a camp stool on
the edge of the Lubitsch set a- she talked
about it. She was all covered up this time
in a very beautiful evening gown. But she
just the same candid, unspoiled Marie
as in the one-piece bathing-suit days.
"Over at the Sennett lot," she said. "I
was one ^i the few K'ds who could really
swim. I had to double for the girl stars
and sometimes I even doubled for the
men. In those days, it didn't matter what
happened to me if the pulchritude of the
Above is the great director in an informal moment and
below he is directing Florence Vidor in a troublesome bit.
He says of her: "She haf beauty; but she haf distinction;
she got goot family. It show on the screen"
real actresses was
n< <x damaged. To
say the least, life
was not monoto-
nous. I never knew
whether I fas going
to be alive or dead
at the end of the
day.
"Incidentally, the
shock to my family
when they saw me
on the screen was
considerable. And
they were not the
only ones shocked.
"One of the trag-
edies of my young
life was one 'of
these shocks. I was
very much enamored
of a young man
\vho>e mother was
a very strict Presby-
terian with a natural
horror of young
women who made
their living play-
acting.
"My hoy friend
tried to convince her
that I was different.
His arguments pre-
vailed to the point
where I was invited
to a family dinner
to be put thru my
(Cont'd on page SO i
Thirty-nine)
"On
Location"
Above is the awe-inspiring tract of land known as Death Valley for
the appropriate reason that sixty-three out of sixty-five miners died
of thirst when they went prospecting there in 1849, and many others
have died since. It is in the southeastern part of California and the
hottest place in the world. Von Stroheim completed "Greed" there
In the oval is
a location
picked for
"Cap'n Dan."
It is off the
coast of Cali-
fornia. Below
is the historic
Weeks Hall
Estate, "Shad-
ows - on - the-
Teche," in and
around which
D. W. Griffith
shot many
scenes for
"The White
Rose." It is in
western
Louisiana on
the bayou
Teche
Above is an ancient Roman
ruin, one of the beautiful and
authentic backgrounds for
"The Eternal City." It is
just outside of Rome
In no one field of endeavor,
artistic or commercial, is there to
be found so much beauty, interest
and variety as on the screen, not
to mention its educational value.
Movie maligners' most frequent
taunt is that we are "commercial."
We offer the evidence on these two
pages in refutation
Right is a section of the endless Florida
swamps, unwholesome and treacherous,
where King Vidor took his company to
make "Wild Oranges," the Hergesheimer
story, for Goldwyn
(Forty)
i
From (j reen land s
icy mountains
To India s coral
strands —
[Or thereabouts)
Across the page is an American desert, but the picture above was
taken in the Egyptian desert at Ghizeh, near Cairo. For most of us
that are sit-by-the-fires, the view of the great pyramids and the
mysterious sphinx to be had in the movies, will constitute our travel-
ing experience. William Fox had "The Shepherd King" made here
Above is a view in our own
most beautiful spot, Yellow-
stone National Park, where
Rupert Hughes took all of
the final scenes in "Law
Against Law"
These wonderful locations are
spread practically all over th
globe and you must appreciate that
it costs a great deal of money to
take whole companies to these far
places. This, however, seems to
us a justifiable expense, far more
worthy than the building of lavish
sets. The artistic return is greater
Left is a beau-
tiful vista up
in the Cana-
dian Rockies.
Tom Mix,
seeking au-
thenticity for
his picture,
"W here the
North Begins,"
selected this
mountain
chain for it.
Below is the
e x q u isitely
beautiful Bay
of Naples in
whose haunt-
ing vicinity
"The White
Sister" was
made
Left is a doorway and the moldering walls
of a thirteenth-century abbey, Beaulieu in
Hampshire, England. This interesting ruin
served as a background for J. Stuart
Blackton's "The Virgin Queen"
(Forty-one)
Photograph by Evans, L. A
A Midwinter Maid
Colleen Moore has adopted a new manner, like Mae Allison and Lillian Gish. It is a
roguish flapper sort of halo, and we find it very becoming. As the unrestrained flapper
heroine of "Flaming Youth," she has at last come into her own. All the critics
commend her. More power to ye, Colleen!
(Forty-trio)
Classic
Considers—
The Great and the Near Great
-i..nc View
ttdc
Rarri-
I.orvir.n
CECILIA LOFTUS
Just because she is back over here in the United States again amusing and
delighting us as she used to do more years ago than we can remember.
Because age has not withered her charm and vivacity, nor has custom had
a chance to stale her infinite allure. Because she literally stops the show
whenever she offers her imitations on the Keith circuit. But mostly
because we shall never forget her. tho we have forgotten her name, when
she played with E. H. Sothern in "If I Were King"
GEORGE WALSH
For the very good reason that he has taken a new lease on life in the
movies and has the most promising future ahead of him of any other star
who started when he did. Because he is June Mathis' choice for Ben Hur.
and we remember that she discovered Valentino. Because also, altho he is
a wonderful athlete and has, without exception, the most perfect physique
of any male star of the screen, he has gone in for things that required brain
rather than brawn and gotten away with it
OTTO H. KAHN
Chiefly because of the dignity and charm of his letters to
Caruso, which were published in Caruso's biography. And
because he is at once a banker, a philanthropist, a financier
and a liberal patron of the arts. He is president of several
railroads, director of numerous trust comoanies. honorary
member of various opera and theatrical companies, including
our own Metropolitan; a Chevalier of the Legion of Honor
of France, a Knight of the Order of Charles II of Spain, a
Commander of the Order of the Crown of Italy, and — a
Citizen of the United States
Carence
S. ilull
< Forty-three)
W Somerset Maugham Is With Us Again
By B. F. WILSON
EVERY time I
see Somerset
Maugham he
is in the act of being
sketched. The last
time I saw him a
well-known news-
paper artist was
sweating blood in a
mad endeavor to get
the famous author's
features down on
his sketch-pad ; this
time a very young
Mexican boy with
an unspellable name,
who by the way has
an uncanny gift of
caricature, was try-
ing to catch a straw
of likeness from the
inscrutable face of
his subject.
The portrayal of
this English writer
has been the despair
of every artist and
cartoonist on both
sides of the Atlan-
tic. They have
all tried and failed.
Every well-known
caricaturist from
Max Beerbohm on
down has had a
sling at it — but Mr.
Maugham says : "I
can draw only one
conclusion — my face
must be so utterly
void of interest that
there is nothing to
work from."
This, however, is
polite rot. The face of the author is one you could never
forget. Disillusionment marks the lower part with deep
lines about the mouth. The keen eyes ordinarily cynical,
can upon occasion warm into human tolerance. When he
laughs — a rare occurrence — he is transformed. He seems
momentarily to throw off the cloak of worldly scepticism
and becomes almost boyish in expression.
He had visited this country again for the purpose of
rehearsing his latest play, "The Camel's Back," which the
Selwyns have produced. He very rarely behaves in this
fashion — in fact, he never goes near the theater when a
play of his has been accepted for production. I asked
him why he had done so this time.
"I had rather an unfortunate experience with my last
play," he replied. "You know, I dont exactly care to
have my plays rewritten by the managers. So I decided
that I would attend the rehearsals personally. I've been
frightfully busy of late with nothing but rehearsing'.
You know, I have just had a play put on in London which
I am glad to say has turned out to be a sensation. The
name of it is 'Our Betters.' It was produced in this
country some years ago, but unfortunately, it didn't seem
Maurice Beck and Helene Macgregor, London
England's most distinguished author-playwright, Somerset
Maugham, came over to this country for the rehearsals of
his play, "The Camel's Back," a scene from which is
pictured on page 46 of this issue. This is positively
the only interview he gave and Classic is fortunate to have
secured it. "Rain" is also from his gifted pen
to please American
audiences."
I recalled having
heard that it was
one of the most
brilliant farces ever
seen in this country.
Its author was at
that time compara-
tively little known
over here. It was
before the days of
"The Moon and
Sixpence," "The
Circle," and others.
Also before the days
of "The Demi-Vir-
gin," "Getting
Gertie's Garter," etc.
Even when the first
two were produced,
they made very little
money for their
owners, while the
parties of the second
part reaped a golden
harvest. Which goes
to show you that
you never can tell
what an American
audience will like.
"The English
stage is in a period
of stagnation," he
continued. "Nobody
is writing any plays,
no one, comparative-
ly speaking, is pro-
ducing any. I think
America at the pres-
ent time is the theat-
rical center of the
world. A producer
over here- can see
possibilities and can take chances that a European man-
ager would never dare to. He hasn't any money he
can afford to lose. You people over here have a whole
mass of theaters which of course have to be filled. Your
managers have so much money that they can say when
a play is offered them, 'Now look here, this is a new idea.
I wonder how it will get over. I think I'll try it and see
what happens.' Very few of the writers in Europe, there-
fore, have turned out plays recently. They feel it a
waste of time. I happen to be particularly fortunate, but
after I get back to Europe I dont intend writing any more
plays immediately.
"They are going to turn 'The Moon and Sixpence'
into a play to be produced here next season. I hope they
will be able to get Lionel Barrymore for the lead.
"I expect to be here for about six weeks then I shall
return to London, shut myself up in my house and get
to work on my novel. It is going to be a long one. the
provisional title is 'The Painted Veil.' However, I have
had so much misfortune with titles that I dont know what
I shall really call it. Every time I get a very good one
(Continued on page 84)
(Forty-four)
Right is the
beautiful Japan-
ese Print scene
from "Artists
and Models."
In the oval is
Otis Skinner in
another of his
delightful char-
acteriiations.
This season it
is S a n c h o
Panza, the phi-
1 o s o p h i c a 1
squire of Don
Quixote
Below is thr
Stone family:
Fred, his witc
Allene, and Ml
daughter Doro-
thy, bright star
of the new
musical extrav-
aganza "Step-
ping Stonei."
Dorothy made
a great hit —
almost stole the
show from her
father
The Photographer
Takes the Stage
White
Left is Beryl Mercer in
her interesting role of
Queen Victoria. Beside
her is George Forren as
Gladstone. Below is the
banquet scene from the
hit of the season, "The
Swan," by Ferenc Molnar.
The set is so dignified and
lovely that the audience
bursts into irresistible ap-
plause before a word is
spoken
White
tpeda
(Forty-five)
Classic's
Monthly Department
of the Theater
White
White
Above is a scene from a curious drama called "Spring
Cleaning," in which a man (Arthur Byron) introduces a
prostitute (Estelle Winwood) into his own home by way
of showing up his wife and her friends
Above: One of the nne plays of a wonderful season,
"Tarnish." Ann Harding is pictured with Mrs.
Jacques Martin
White
Above is a moment from the
Maugham comedy-drama, "The
Camel's Back." The actors are:
Violet Kemble Cooper, Arthur
Lewis and Charles Cherry. Right
is "The Failures," a rather more
grim than usual Theatre Guild
offering. Left to right: Winifred
Lenihan as the actress, Jacob Ben-
Ami as the author, Erskine San-
ford as the musician, Dudley
Digges as the Art Theater manager
Bruguiere
(Forty-six I
Variety
Is the Spice
of This Season
Ir.i 1> Schwan
Four of the leads in "One Kiss." Clare Kummer's "comedy
with music." They are: Oscar Shaw, Louise Groody, Ada
Lewis and John Price Jones
Above is Roberta Arnold in a typical Golden produc-
tion, "Chicken Feed," which deals with wives and
their nearly always inadequate allowances
White
Above is Jane Cowl as Melisande,
with J. Sayre Crawly as Arkel, in a
scene from the most tragically beauti-
ful of all Maeterlinck's haunting and
beautiful dramas, "Pelleas et Meli-
sande." Left are: General Stuart
(James Durkin), Robert E. Lee
(Berton Churchill) and Stonewall
Jackson (David Landau), all from
Drinkwater's "Robert E. Lee," which
took a bad flop
Richard Burke
(Forty-seven)
Walter Hampden,
Playing Superbly,
Makes "Cyrano de
Bergerac" The
Play of the Month
This is the second
of Mr. Macgowan's
monthly articles on
the stage for
Classic. An un-
fortunate accident at
the height of Mr.
Hampden's success
in "Cyrano" caused
a three weeks' sus-
pension of perform-
ances. They have,
however, now been
resumed and those
interested may see it
at The National
Theater, New York.
Mary Dale Clarke
The World's Most Famous Nose
By KENNETH MACGOWAN
AFTER creating the greatest nose in all history any
writer ought to be satisfied to die. Edmond Rostand
Lwas not. He insisted on living on into his thirties,
his" forties, even his fifties. And all to no purpose. The
author of "Cyrano de Bergerac" never created a facial
blemish, let alone a whole character, to equal the nose or
the soul of the Gascon cadet.
Perhaps Rostand made a mistake when he did so well
by Cyrano. Certainly the fellow threw "L'Aiglon,"
"Chanteclair," and all the rest of his plays in the
shade. More than that, he was too Francis
tremendous a hero to get
himself very much
acted. Coquelin ^^
learned the
hundred pages on which Cyrano monopolized attention
in the two hundred and fifteen pages of the play, and
actor after actor has stood in awe of Coquelin ever since.
Richard Mansfield played this Gargantuan part over here,
and, tho a few American actors have talked about reviv-
ing the play, the only one who had done so up to the
present season — Robert Lorraine — cautiously turned
Englishman and emigrated before he tried it. A great
part and a great acting tradition have almost killed a
great play.
Bruguiere
But now Walter Hampden comes
cheerily along, and revives
"Cyrano" as a mere
(Continued on
page 92)
(Forty-eight )
The Movie of the Month
By LAURENCE REID
Mr. I\',i(j StltCtS "Anna Christie" c;.< ///<• /'.
Photoplay of This Month and Explains Why
EUGENE O'NEIL'S Pulitzer prise play. "Anna
Christie" (Firsl National), cornel to the screen a
vigorous, --tirrin^ document. Here is one instance
where the producer has not made a single departure from
the original. ( )n the contrary, he lias approached the
author's vital subject with deep appreciation of its dra-
matic sweep, it-, rich characterization — and its very human
attributes- -with the result that we have a picture of
breadth and substance — a picture comparable to "A
Woman of Paris" in its direct, progressive action, tho
carrying a much more significant theme.
Thomas H. Ince. like Chaplin, has marked out a clear
path for himself. Defiant of censorship, he has had the
audacity and the sincerity to tell the truth as ( )'Xeil
painted it —
without throw-
ing a sop to the
sentimentalists.
\nd so we
have "Anna
Christie" — one
of the boldest
dramas of life
in the raw
that has ever
been screened.
In certain
States, we can
hearthecensors
crying : "This
is too strong ; it
is liable to of-
ferfd." On the
other hand,
those of us
who would see
life expressed
realistically are
crying in the
wilderness for
just such
screen treat-
ment as is re-
vealed here.
Mr. Ince has
gambled. H e
has chosen no
path which
beats around
the bush. He
has seen his
goal, striven
for it and
reached it — and the O'Neil drama is his profit. The en-
comiums we passed on to Charles Chaplin will have to
be shared with Thomas H. Ince. One has plunged into
the superficialities of life, the other into the realities. And
yet how like each other are these stories — -in the manner
of their compact treatment.
Eugene O'Neil, a realist, sketches life as he sees it.
That life may expose raw crudities — but it is invariably
moving and compelling. Woven deep in the fabric is
a vital spiritual note. We will say that there is more
These are the people who most
Christie" better than all the other
right: George tyarion, John Wray,
of a spiritual quality in "Anna Christie" than in all the
sugar-coated slices of sentiment which masquerade under
the name of humanity. It carries a comforting quality
in its revelation of human frailties because it strikes
at the very \itals of character — showing us how tricks
of circumstance guide our destinies If the cenSOCT
would look beneath the raw surfaces and see the rugged
heart-heat inside, they would have no occasion to point
thumbs down.
It is seldom that such a bold document reaches the
screen with its vital ingredients intact. Surely Ince hasn't
been guided by the idea that his throbbing opus will be
passed along to the tender fledglings. Yet, even these
fledglings will take nothing from it but worthy impulses.
The director
has kept faith
with the play
— right d o w n
to the most un-
imi>ortant de-
tail. We may-
miss the rug-
gedness of the
spoken line, but
compensation
is effected thru
the range of
the camera to
catch a most
authentic at-
mosphere. Ince
has so shaped
his scenes and
guided his
players — that
we seem to be
actual partici-
pa n t s. He
makes us feel
O'Neil's psy-
chology of dis-
tressed souls —
that emotions
guide the heart
and mind. The
author has
played upon
the superstition
.that molds
the character
of sailor-folk.
His figures
have tasted the
dregs of life — yet all are playboys and playgirls.
O'Neil knows his subject and Ince has kept faith with
the text. He releases no sentimentalities, nor any con-
ventional sops. He takes the subject and penetrates into
the cross-currents of the human heart — showing us a
superstitious, child-like old sailor who ridiculously tries
to defy the deep with a futile cry : "Dat old davil sea !"
He would keep his daughter away from it — knowing the
anguish he has caused his wife who had waited in vain
(Continued on page 95)'
profitably helped to make "Anna
screen plays of this month. Left to
Blanche Sweet and William Russell
(Porty-mneJ
The Celluloid Critic
T
WO adaptations of highly
successful novels bid for
recognition in the First Na-
tional entries, "Ponjola," and
"Flaming Youth." The first men-
tioned is an adventure yarn fash-
ioned from a familiar formula,
but thru a clever manipulation of
plot and incident framed against
an effective background — and
played with creditable feeling, it
takes oh a value which should also
cause it to
become high-
ly popular on
the screen.
If you are
not in the
know con-
cerning the
title, let us
state that
"Ponjola" is
the Kaffir
word for
whiskey. And
it serves as
the medium
toward the
degeneration
of a man who
has given too
much thought
to business
and romantic
reverses exe-
cuted by a
crooked partner and an unapprecia-
tive girl.
The idea will be recognized as
having served the screen many
times before. But its treatment is
different. It features the exploits
of a beautiful young Englishwoman
who journeys to South Africa to
escape the embarrassment of the
law.
While in Paris she is balked in a
suicidal venture by a stranger who
is returning to the veldt. He takes
her into his confidence — as a result
she takes a new lease on life — and even goes so
far as to accompany him to South Africa disguised
as a man.
What follows is an extremely conventional line
of adventure and incident — with the masquerader hold-
ing the interest thru her radical disguise. While her sex
could be easily identified, for the purpose of the plot —
she gets away with it. And regenerates the man who had
run away from his character.
There is a deal of melodramatic incident and a fair
quota of thrills in this picture — which, as a sample of its
kind, is interesting screen fare. Anna Q. Nilsson makes
a startling appearance as the heroine. She has not spared
the shears in trimming her locks and she makes a wonder-
fully attractive young man.
James Kirkwood employs his poise and repression to
good advantage. He can convey more soul tortures than
most of his contemporaries.
ag^"%
IL v^S
\mVto
If *xm/a
Vl
Hi ^H
' 1
K*"" ■
i
W/: ''Uk,
HRfe i f 1
A'
Above: Young
Douglas Fair-
banks in
"Stephen Steps
Out.1* Left:
Harrison Ford
and Ethel
Shannon in
"Maytime"
Right: Bar-
bara La Marr
in "The Eter-
nal City." Be-
low: Anna Q.
Nilsson and
James Kirk-
wood in "Pon-
jola"
effort to be naughty but
nice is the little- movement
behind "Flaming Youth,"
which is the latest visualization
of flapperdom. So we have the
usual expose of the fast jazz life,
tho it is shown against a much
more effective background than
what is customarily depicted.
Some may call it risque — but it is
mostly suggestion — without much
flair of subtlety. We are offered
an undress-
ing party for
the big swim
(no picture
of society
fast- steppers
is, complete
without its
s w imming
epi sode) —
and so on un-
til we dis-
cover that
mamma's
little girl is
growing up
and demands
expression.
Colleen
Moore, once
the story gets
under way,
gives a capa-
ble perform-
ance of the
jazz-crazed flapper. She is pert in
appearance and to the point in her
craving for a good time. She gives
pure "white" kisses and when "red"
kisses are forced on her pouty lips,
she flames up with indignation.
She is not far from being a patho-
logical study — is little Patricia
Fentriss. She observes hectic "do-
ings" in her home and decides to
participate. Her mother has been
discovered in the arms of a man —
a mother who has succumbed to
the giddy life. After her death her
most faithful admirer shows a great interest in the girl —
who must experience a harrowing adventure aboard a
yacht before she is lugged out of danger.
It is artistically designed — this picture, and its petting
and "necking" parties will doubtless establish long lines
at the box-office. But it skims the surface most of the
time. We would catalog it as bright and playful, but
artificial.
THERE seems to be no end to a picturization of the
stormy days of French history. Here we have in
"Under the Red Robe" (Cosmopolitan) an elaborate
expose of the silk and satin period when Richelieu ruled
the affairs of state during the reign of Louis XIII. Un- «
fortunately this vital character — one of the dominant
figures of his time — is allowed to pass almost unnoticed
once he is introduced — in order that the picture conven-
tions may be obeyed. Thus we have a long, tiresome
(Fifty)
Laurence Reid Reviews the Latest Photoplays
Alma Ru-
b e n s in
"Under the
Red Robe"
Edward Horton in
"To The Ladies"
r i> in a ii
developed be
t \s c e 11 .1
voung scala
gifted
w i t h the
I, who i>
sentenced l>\
Richelieu to
brine luck a
rebel or •
ler the loss
of his head
in the basket
— a n tl th e
rebel's sister.
A n u n -
wieldy pal
tern — this,
which falter^
in robbing
the cardinal
of the spot-
light — and
p e r mi tt in g
the romance
to take away
the historical
value.
Furthermore,
there is little
variety in the
love episodes.
On the credit
side is a gor-
geousness of
design — cap-
italized in an
array of
beautiful set-
tings and cos-
t u m e s —
which are
truly sugges-
tive of the
period. There
is not so
much an air
of solidity
and massive-
ness as there
is one of
color and richness. Occasionally it stirs us with a
dramatic stroke — such as the death of the spy — and
Richelieu's humiliation when he suffers the loss of his
power for a day. It's a picture which has a distinct ocular
appeal, but which is not skilfully constructed to indicate
the real intrigue of court.
Most of the acting leaves us cold. John Charles Thomas
is a robust and fleshy cavalier, but is too awkward and
too stiff of posture to be the gay charmer of Weyman's
book. Alma Rubens does not scale any emotional heights
as the heroine. Robert B. Mantell's Richelieu is too
theatric of expression.
ANOTHER unwieldy design is "The Eternal City"
( Goldwyn-First National), which has little in
common with the book. True, it carries Hall
Caine's atmosphere, title — and a suggestion of his
Below:
Thomas
Meighan
and
Lila Lee
In
"Woman
Proof"
Bill Hart in
"Wild Bill
Hickok"
Colleen Moore in
"Flaming Youth"
it 1 c
Mllnt. but
thi th
i ng impri
live about it
ide f roiu
ime Ron
background i,
such as the
F a
storming the
( oliseum —
and o t li e r
ancient land
marks.
We are of-
fered an arti-
ficial story of
children who
grow up as
lovers. Xow
comes the
( i r e a t W a r
with the boy
enlisting thru
patriotic en-
thu si asm —
and the girl
reading the
report that he
has been kill-
ed in action.
Which plants
the reason
why she be-
comes victim-
i z e d by a
wealthy roue.
One may see
th e cl imax
indicated far
in advance.
It is a cer-
tainty that
the youth
will return
from the war
and surprise
his erstwhile
sweetheart
with another.
So when he
comes back, the picture has lost every suggestion of
surprise. The puzzling query here is why the sponsors
relied upon such an ancient theme in their modernization
of the novel. There is a deal of storm and stress before
her honor is vindicated. Indeed, the scenes become in-
volved with much melodrama — which introduces conflict
of a propaganda quality when the Fascisti are introduced.
The hero has enlisted as one of Mussolini's most trusted
lieutenants. At the proper moment he strikes against the
arch-rebel who is the very man who involved the girl in
scandal.
The picture is rambling of story and tries to cover too
much ground. The spiritual note is striven for, but
poorly indicated. And the acting is anything but in-
spired. Barbara La Marr is permitted too many close-ups.
so that her portrayal impresses us as a photographic
(Continued on paqc 96)
(Fifty-one)
The salary of June Mathis as
editorial director for Gold-
wyn pictures is $100,000.00 a
year. It is not surprising
that she should have a
charming home. It was de-
signed by Louis Benton, of
Los Angeles, and decorated
by Miss Mathis herself with
the assistance of the designer.
These photographs were
taken by George D. Haight
Above is the dining-
room in dull blue
and rose with ivory
woodwork. The
furniture is Circas-
sian walnut, the rug
an oriental. Right
is Miss Mathis' own
study with its typi-
cal California at-
mosphere. It is done
in red and green
and the furniture
is mission. You
should have great
respect for this
room, for it is here
that Miss Mathis
earns her salary
(Fifty-two)
Hollywood Homes
No. XVI
The home of June Mathis, Goldwyn's Editorial Director, is pictured here
At the top of the
page is the view
from the street.
The house is of
soft Italian pink
stucco with a
dark-red tiled
roof. The plant-
ing is admirable
and the lawns and
garden unusually
trim
Left is Miss
Mathis in her
living - room ar-
ranging the roses
from her own
garden. A charm-
ing home and a
charming hostess.
Note the odd
effect the Cali-
fornia sun has on
the tiles of the
roof at the top of
the page
(Fifty-three)
FROM the movie vocabulary in "The Best Moving
Pictures of 1922-23," by Robert E. Sherwood:
GROSS, v. To make money. It is applied only to pic-
tures. ("This film will gross a million dollars.")
In other words, William Fox's "Temple of Venus" is a
million dollars' worth of grossness.
+ + +
"God never meant laughter to be full of daggers that
dig into the heart," says the heroine in "The Temple of
Venus."
This fella, now, Fox, just knows everything, ain't it?
+ + "b
At this writ-
ing, Gene Sara-
zen, the golf en-
thusiast, is to be
married to
Pauline Garon,
the First Flap-
per of Filmdom.
Looks as if he
had an almost
perfect ap-
proach.
Later : Miss
Garon has de-
nied that she is
betrothed to Mr.
Sarazen, thus
laying him a
mean stymie.
*r" + +
If you ask us,
it's our opinion
that the whole
affair's the bunker.
Whatever harsh words may be
justly spoken of the
legitimate stage, at
least it spares us the
puerile effect of the
gel's face appearing
deep in the heart of a
rose. Nor, as in "His
Children's Children,"
do devils ever emanate
from wine-cups and
flaming matches to
philosophize in illiter-
ate subtitles. We
fatuously thought
such trick photog-
raphy was as dead as
a dinosaur's egg.
Courtesy of Ina Anson
ond Goldwvn Pictures
Devils in their proper place, to be sure, are not without
a certain dignity. Embellishing the advertisements of
corn-cures, dyspepsia tablets and Underwood's Picnic
Ham, for instance, they are hot stuff.
+ + 4*
"His Children's Children" also offers an interesting
example of the proper Christian sentiment. In what
might be called a prolog, Grandpapa is shown whooping
it up on the observation platform of his private car with
a Fancy Person. A lassie, however, from a nearby group
of Salvation Army choristers brings him the Light.
Grandpapa morally renovated, his mistress becomes most
offensive to his sight. "Get out !" he says in a fine frenzy
of righteousness. "Here are your things — go!" And out
she goes, without benefit of clergy, or any spiritual rein-
forcement whatever.
Now that's no way for a gent to treat a lady !
+ + +
Our Own Censorship Standards
A casual examination of the platforms of the various
state censorship boards has practically forced us to form
one of our own. So far as we are concerned, the boards
have failed
utterly in the
proper execution
of their duties.
And then, one
always gets bet-
ter results when
one does things
oneself, doesn't
one?
Our rulings
are as below :
1. There will
be not more than
three bathing
beauties shown
in any one scene.
All bathing
beauties must
enter the water.
Bathing suits
obviously de-
signed not for
comfort but for
the exploitation
of the female
form divine will be frowned upon.
This need not apply to news reel pic-
tures of beauty contests.
2. There will be no mare pic-
tures of swimming-pool parties coun-
tenanced until July 24, 1978.
3. Scenes of motion-picture actors
and actresses presumably engaged in
a set of tennis will be strongly
disapproved. This goes for
golf, also.
4. No actor over forty-five
will be permitted to take the
part of a student in scenes of
college life.
5. Scenes displaying the star
in improper lingerie will either
be cut out entirely or given a
reasonable amount of footage.
A little knowledge is a danger-
ous thing.
6. The wearing of caps with evening clothes by male
actors will be discouraged.
7. All scenes showing the actual consumption of food
at a civilized repast will positively not be tolerated unless
the performers are made to stop acting naturally. (Very
probably to be continued.)
+ + +
"Surely," said the Boss (who is more of a Darn Good
Pal than a boss), "you are going to write something about
'A Woman of Paris.' " And so we are. Charles Spencer
(Continued on page 90)
(Fifty-four j
The Immortal Clown
With Specially Posed Photographs of Larry Semon
by Lejaren a Hiller
IITERATURE is filled with portraits of the tragic clown, the
fun-maker who carries in his heart the burden of ■ great per-
*"'sonal sorrow, but who laughs away the hours in gay hearted
abandonment, while his soul sutlers because of grief lie dare not
reveal in his guise of purveyor of
merriment.
In all literature there is no more
tragic figure than the clown made fa-
mous by Caruso, the Pagliacci of the
opera, with whom we have all laughed,
over whom we have all wept ; the
shadow of whose tragedy has brought
to the stage one of those wonderful and
sublime moments which are the very
pinnacle of human experience.
There have been many sympathetic
portrayals of Pagliacci which have
added dramatic art to lash the imagina-
tion and awaken in the heart and soul a
sense of grief so almost divine as to be
next to unbearable.
It was a daring thing to plan — to give
to art-lovers photographic portrait
Right: Here the
clown has yielded
gradually to con-
viction and the
grim determina-
tion to avenge
betrays itself in
his features. Be-
low is portrayed
an abject and
hopeless despair.
Revenge has not
brought relief.
These are fine
and sympathetic
studies. Bravo,
Mr. Semon!
Here is a new
Larry Semon tell-
ing the familiar
story of Pagli-
acci's grief and
despair. Above is
the funny man
without a care in
the world, the
old Larry Semon
at his best. Left is
the first hint of
his wife's unfaith-
fulness, which, in
his surprise, he is
not quite ready to
believe
studies of Pagliacci ; to believe that any
man could, by mere facial expression, bring
to us the grief portrayed by the classic
clown, relive for us the scenes of that
tragedy in silence, making us remember our
hurt and crying sympathy which the voice
of Caruso has left as a memory in our ears.
Lejarena Hiller, well-known artist-photog-
rapher, has made such an attempt, and he
chose from his long sought-for subjects and
original of his picture-studies, Larry
Semon. . . . Semon, who has made us
laugh till we cried . . . Semon, the clever
. . . the agile . . . the merrymaker,
without a suggestion of sorrow in the world.
"I looked and looked almost in vain,"
says Mr. Hiller, "for a man who could in-
terpret these master-studies, but could find
no one. However, when I met Larry Semon.
I felt, at last, I had discovered my man. Mr. Semon has shown a new-
side of the artist in him thru these portraits. He portrays his own
story and in a way that you can fairly hear the sobs, the grief of one
betrayed.
The studies are of the clown — in his usual mood ; the funny man
without a care, giving of his fun. What did he know of grief? What
did he suspect of treachery ?
Then the first hint of his wife's unfaithfulness; the surprised man.
not quite ready to believe, not quite ready to yield to the impulse of
jealousy. Life is still funny, tho something in it is becoming
complicated.
He yields gradually to conviction, then all his pent-up emotions are
aroused . . . the gay nonchalance for which he is famous, droops
{Continued on page 94)
(Fifty-five)
Flashes From the Eastern Stars
Apeda
Above : Alice Delysia, of "Topics of 1923."
Below: J. Hartley Manners and his wife,
Laurette Taylor, back in New York
© Underwood and Underwood
Of the Stage, on the Screen ,
Caught by the Editor
THE pleasantest thing we can think of that has hap-
pened so far in the movies, is that Lillian Gish and
Richard Barthelmess will play "Romeo and Juliet" on
the screen. There is no debating the appropriateness of
the choice. Lillian and Dorothy are both in Italy for the
filming of "Romola." "Romeo and Juliet" will also be
made there, and "Joan Of Arc," starring Lillian Gish, will
be deferred until later. * * * Richard Barthelmess is
in the midst of "The Enchanted Cottage," upon comple-
tion of which he will join the Gishes in Italy. May
McAvoy has the lead in this picture. Holmes Herbert is
playing Major Hillgrove, the blind officer. John S.
Robertson is directing. He will also direct "Romeo and
Juliet." * * * Al Woods has put
into rehearsal a new play by John
Hunter Booth, titled "Softy." Robert
Ames is the featured player. Elizabeth
Murray, Florence Flinn, Jack Raeffael
and William Calhoun are in the cast
* * * Flora Le Breton, the English
motionrpicture star, who is creating a
very favorable impression on American
producers, thinks New York is about
the most interesting place she ever
visited. She is fascinated by the elec-
tric signs. The other day the Wrigley
Spearment sign attracted her interest
so long that she stood watching it for
quite a long time until the crowd
gathered around her. Miss Le Breton
was not aware of the crowd until a po-
liceman came up and informed her that
she was obstructing traffic * * *
Dr. Daniel Carson Goodman, author-
producer, and Alma Rubens, star of
"Under the Red Robe," now playing at
Cosmopolitan Theater. New York
City, have announced their marriage.
It took place last August * * *
Fourteen gallons of chewing gum re-
mover have been used since the opening
of the Music Box Theater in keeping
theater chairs safe for the spectator.
The liquid has been used to separate in-
dividual piles of fully masticated gum
from furtive parking spaces under the
theater seats. Fifteen cuds of chewing
gum has been the average discovery
following performances. The objection-
able wads of gum have been found on
bannisters, walls of the theater, carpets,
under seats in the beautiful lounge, and
under arms of chairs. Every known or
suspected place is explored each day by
the cleaning squad. Do you do this?
We hope not * * * Gloria Swanson
does an apache dance in her newest
Paramount picture, "The Humming
Bird," which will be a revelation. For
weeks she has been practising the weird
dance creation with Aurelio Coccia, who,
for the last ten years, has been
dancing it thruout the United States.
(Fifty-six)
Above is John P. Brawn on
tour with Frank Craven in
"The First Year," playing
with conspicuous success
the Mr. Livingstone of the
play. Below are the dear(?)
familiar "L" tracks of New
York, in, on, and around
which, Director Emmett
Flynn made most of "Nellie
the Beautiful Cloak Model"
_j
Left are Pauline
Frederick and Lou
Tellegen playing to-
gether in "Let No Man
Put Asunder." Right
are Jane Cowl, Rollo
Peters and Kate Terry,
famous sister of Ellen
and one of the great
Juliets of the stage.
Below is "Mother Ash-
ton," with her little
niece and her staff of
deft, polite and atten-
tive Japanese, who help
make her newly opened
tea-room the success it
deserves to be, and is
"The apache dance is cruel, fierce, and wild," explained
v ia. "Many people believe that it has been exag-
gerated by dancers, but that is not so. One night in
Paris while making the rounds of the cafes in the
Montmartre district in search of color for my dance, I
was fortunate enough to witness a little triangle drama
between two apache men and a girl. One of the
apaches, seeing the woman with his rival, picked up a
bottle and smashed it to fragments on the floor. He
deliberately cut bis hand with a piece of the glass, ad-
vanced to the defiant girl, seized her with his bloody
hands and began to dance to the strains of the noto-
rious Mattischiche. It was a fascinating sight." Miss
Swanson had to give up work on this picture for nearly
two weeks due to a particularly severe case of "Kleig
eyes" * * * Glowing reports of the effectiveness
of F. Scott Fitzgerald's comedy, "The Vegetable," drift
in from Atlantic City, where Sam H. Harris first pre-
sented the play. It is being prepared for a Broadway
showing with Ernest Truex as star. * * * Lee
Kugel, who says he counted them, reports that 3,000
actors, actresses and dancers yesterday afternoon
stormed the doors of Morris Gest at the Princess
Theater seeking engagements in Max Reinhardt's
"The Miracle." * * * Homer
Croy, author of "West of the Bail
Water Tower," has just
offered a prize of $100
for the best bit of
writing done dur-
ing the current
school year by a
student of the Uni-
versity of Missouri.
The award is very
unusual. Mr. Croy
says he doesn't
want any red tape
connected with it
and wants to "en-
courage some stu-
dent who has the
writing germ
buried in his soul
and who thinks no
one cares." Mr.
Croy was formerly
a student at the
University of Missouri. Just at present he is a kind
of literary hero among the undergraduates because
"West of the Water Tower" has become a best-seller
and has just been produced as a motion picture by
Paramount, with Glenn Hunter in the .star role.
* * * Probably no member of the theatrical pro-
fession has traveled more extensively than Miss
Georgette Harvey of the "Runnin' Wild" company,
the all-colored musical show now playing in New York
City. Miss Harvey, tho comparatively a young
woman, has spent fourteen consecutive years playing
thruout Europe and Asia, ten of which were spent in
Russia. During her long stay in the latter country
she witnessed five revolutions, and was in Petrograd
at the time of the overthrow of the late Czar. Her
recital of the terrible experiences which she was
forced to undergo are dramatic in the extreme. De-
siring to leave the country, she was thwarted at every
move and accomplished it only after traveling across
Russia to Siberia and the far East. During this trip
she personally saw more than two hundred executions.
An uneviable record ! * * * After four months of
searching the market for a suitable story for George
Fitzmaurice's second independent production, Samuel
Goldwyn announces the acquisition
of Joseph Hergesheimer's
novel, "Cytheria," and
work will begin the
latter part of this
month. The direc-
tor is now in Cuba,
selecting locations.
* * * Nita Naldi
is in New York
again after a long
stay on the Coast.
Her plans are un-
decided. * * * Col-
leen Moore has been
honeymooning, a
bit late, but still
honeymooning, in
this greatest of
cities. She has been
buying furniture
for her new home.
She has been
(Con. on page 102)
(Fifty-seven)
"I'VE seen people clown in the mouth before," said
Jarvis with mournful relish, "but I never saw one
clown in the mouther than Mr. Ainsworth. No, sir.
Thank you, sir." Jarvis always thanked you. He was
imported from England, and he knew what was expected
of him,
"No desire to gather him roses while he may, eh?"
Morrell commented sympathetically, reaching for the
bottle of Bourbon on the tray in the butler's hands, "finds
no comfort in the jolly old flowing bowl and all that
kind of thing? Maybe some girl has turned him down.
We must cherchez la femme in cases where a fellow
with everything he wants in the world suddenly discovers
that he doesn't want anything."
"I dont think it's that, sir," Jarvis shook his head, "I've
been thru three affairs of the 'eart with young gentlemen
I've 'ad the honor of serving and I know the symptoms.
Thank you, sir."
"It cant be money troubles," Morrell reflected, "his
income tax looks like a movie star's salary. Liver,
perhaps."
"I've been butler to two livers, sir, and one gout."
Jarvis sighed, "there's nothing wrong with Mr. Ains-
worth's 'ealth, I'm certain. If I may venture a sugges-
tion, sir, I think he needs a h'interest in life and if he
doesn't get it," he made an eloquent gesture of putting
an invisible pistol to his forehead and pulling the trigger,
"I was once second footman to a suicide, sir. Thank you,
sir."
Left to himself and the Bourbon by the grateful Jarvis,
Tack Morrell laughed, then frowned. He had known
The
Yankee Consul
By NORMAN BRUCE
Dudley Ainsworth since freshman year at Yale and
between them existed that rare thing that men never put
into words — friendship. If he had occasion to speak of
it, Morrell, shying in horror from sentiment, would have
said that they were Dud Damon and Jack Pythias. He
had noticed his chum's depression but Jarvis' report gave
him the first hint of'its seriousness.
"I must put the old bean at work," he told himself, "it's
hard to think with nothing to do it with, but it's got to be
done ! Let's see, if he isn't in love he ought to be- "
Dudley Ainsworth, lounging in shortly afterward,
barely glanced at his friend. He flung himself into a
chair, fumbled for a cigaret and when the match went
out, irritably tossed the unlighted cigaret away. The
muscles of his handsome young face were drawn so taut
that he looked as tho he were wearing a mask but
his hands shook, and catching Morrell's glance he thrust
them into his pockets.
"Damn !" he said drearily, "Damn everything !"
"Come out to dinner with me." Jack suggested, "I can
manage the wine and the women and I might even be
persuaded to oblige with a song!"
Ainsworth shook his head. "Have to dress, and I'm
sick of dressing. D'you ever stop to think, Jack, how
many more times we'll have to dress before we die?
How many shirt studs we'll have to put in — Gad ! When
I look ahead to forty years of tying my necktie and brush-
ing my hair, I feel as tho I couldn't go thru with
it !" His voice had risen to the pitch of hysteria. Jack
Morrell was shocked. Lord, but the poor chap was in
a bad way — in another moment he'd be bursting into
tears !
"Dont worry, your hair wont last another forty years,
m'boy !" he said flippantly, "do come along, Dud ! I want
you to meet a girl, reg'lar stunner, my sister's chum at
Vassar, but she doesn't wear blue stockings, and she
doesn't flap either. Hairpins instead of a bob, and uses
her head for something besides a parking place for a hat.
You'd like her."
It appeared that Ainsworth wouldn't go across the
street to meet Helen of Troy. Women talked, which was
bad, or else they expected to be talked to, which was
worse. Argument and pleading were of no avail, and
then Morrell played his trump card.
"The trouble with you, Dud, you're out of the game,
you're sitting on the side-lines instead of being out on
the field where you belong. A job is what you need.
Look here, I'm willing to bet you ten thousand dollars
that if you go to work for a month and live on what you
can make life will look entirely different to you."
Ainsworth stared wanly. "A job ! What d'you sup-
pose anyone would hire me to do — I'm the most useless
object on God's green earth. I'm as worthless as a corpse
and I take up a good deal more room. Job ! I couldn't
get a job to pound sand in a rat hole !"
For reply, Jack turned to the telephone. "Listen, girlie.
I'm not doing this to exercise the 'phone," he added
earnestly after giving a number. "I know, sweetie, that
the line is busy and the party dont answer and all that.
Why not be original and get me the number?"
Dudley Ainsworth listened with a wry smile. He told
(Fifty-eight)
CLASSIC
himself that the plan was preposterous, that he wouldn't
be a part \ to u. and yet he made no move to interfere,
■ven when, from the one Bided conversation on the 'phone,
he deduced that he had been lured i>y the Happ) l>a\s
Travel Bureau to sell steamship tickets and distribute
gaudy booklets over a counter for twenty two dollars and
titty cents a week, somewhat less than he usually ipenl
on cigars. Morrell hung up the receiver triumphantly.
"There you arc' Remember the conditions, one month's
work and vou're to live on your pay. It at the end of
the time you dont confess life is worth living, I'll hand
you a check for ten thousand!"
"You're a fool. Jack," Ids friend remarked listlessly,
"hut I'm desperate enough to try it. And if it doesn't
succeed 1 wont want your money, I'll just let you treat
BM t» a cyanide cocktad. I'm tired of sticking around
this stale, flat and unprofitable world waiting for some-
thing to happen ."
"I have a hunch you'll find your job — interesting."
Morrell said cryptically, "well, so long! Of course I dont
mingle much with the proletariat, and our stations in life
will be different from now on. hut maybe I'll drop in noV
and again to wring your horny hand of toil."
The first two days at the travel bureau were unusual
enough to provide a young millionaire who had never
been into such a place with a few novel impressions.
Faithful to the terms of the wager, Ainsworth took a
frightful room in a lodging-house on Twenty-third
Street where the sheets smelled of boiled cabbage and the
carpet was like decayed vegetation, and since he must
choose between three meals a day in dirty lunchrooms
or one meal a day in a decent if modest restaurant he
decided on the latter and found himself really hungry for
the first time in weeks. He was even able to smile feebly
at the thought of Jar vis' horror if he could see the tin tub
in the lodging-house's one bathroom and the pink powder
scattered on the lav-
atory by the hall-
bedroom manicurist
— a determined
blonde.
But on the third
morning the dark
cloud of depression
settled down again.
It was all so futile —
the booklets of
standardized tours
with their specious
pictures of pagodas
and Roman ruins,
the cheap people
who came in to talk
about cheap cabins.
With the morbid
fancy of a sick and
jaded mind, Ains-
worth seemed to see
the Inverted Bowl
of old Omar and un-
derneath, crawling
"For love of ze good
Saint Mike zat you
Americans worship,
do not leave mt — I
am in so great trouble
— but I cannot tell
you jus' now — I
write " The ven-
tilator clicked shut as
another woman's hand
drew the girl away
from the window
aimless .is ants, the human millions caught m tin- tr.t
tent e F rora these thoughts Iv
familial voice asking casually for a ticket to San Domingo
"San Domingo," stuttered Auisworth, "for I:
sake win would you want a ticket to San DomingO?1
"In order to travel there, "I COUrSC, my good fellow'
Morrell s.ud blandly. "Steamship Mariposa, sailing this
afternoon. I Mine. COme, hurry up'"
"1 say, Jack, if you're really K<>inu to San DomingO, 111
come along," Ainsworth automatically placed a blue ticket
in an envelope and pushed it over the Counter, "sou wen-
wrong — there's no kick to this job, and the fellow in the
room above mine plays '< >ld Black Joe' on a cornet
all the evening!"
"Tut. tut, what are the working classes coming t<
Morrell grinned, "think of your wager I Picture me
sitting under palm with a book of verses, a jug of wine,
and a charming Thou, but as for you work hard, my
boy — work wins, you know ! See you later !" With an
airy wave of his hand he strolled out, almost colliding
in the doorway with an agitated young lady of such un-
usual beauty that Ainsworth who had been about to dash
after his friend stood still in his tracks staring dazedly at
the dark pale loveliness revealed by the lifting of the heavy
black veil she wore.
'"As the Mariposa she sail yet?" the young lady in-
quired with a foreign accent which Ainsworth could not
quite place, '"ave the boat to San Domingo a'ready de-
part?" And now he saw that she seemed to be laboring
under some emotion. The bosom of her dress rose and
fell swiftly and she cast frequent glances toward the door.
Dudley Ainsworth had led an entirely average life. The
women he had known had been dancing partners or dinner
neighbors, charming, carefully trained to please, perfectly
understandable even to the meaning of the conscious look
in their blue, black or brown eyes when they gazed at him.
(Fifty-nine)
CLASSIC
"I'll be damned if I will!" Ainsworth returned promptly. What would have happened next he
did not know and he did not particularly care. A fellow like a musical-comedy king giving
orders to a citizen of the United States!
But this woman was different, tantalizing, mysterious.
She was like a flirt of a scarlet fan in a carnival crowd,
laughter in stormy moonlight, she was like
Confusedly he heard his own voice assuring her that
the Mariposa had not gone. Dizzily he was conscious of
following her hurrying figure to the door, of standing
bareheaded on the pavement watching a foreign-looking
gentleman and a lady with diamonds in her ears hurry
her into a taxicab which a moment later was lost in the
tide of traffic, but not before he had caught a memory of
a wild white face pressed to the window, the gesture of a
little hand, whether in farewell or entreaty he did not
know.
A snicker brought him back to his surroundings and
the conciousness that he lacked a hat. Behind his counter
once more Ainsworth sold several tickets with entire
disregard for such small
details as destination and
date, then for the third
time that morning the
Steamship Mariposa was
the subject of excited in-
quiry. An elderly man,
face almost hidden behind
an underbrush of ginger-
colored whiskers, stood as
close to the counter as his
girth would allow, banging
a tattoo with a rusty cotton
umbrella.
"Looky here, young
man," he addressed Ains-
worth belligerently, "my
name is Abijah Boos."
He seemed to expect
THE YANKEE CONSUL
Fictionized by permission from Associated Ex-
hibitors' production of the screen adaptation by
Raymond Griffith and Raymond Cannon of the
musical comedy by Henry M. Blossom, Jr., and
Alfred G. Robyn. Directed by James W. Home.
The cast:
Dudley Ainsworth Douglas MacLean
Jack Morrell Arthur Stuart Hull
Leopoldo Stanhope Wheatcrof t
Donna Teresa Eulalie Jensen
Don Raphael Deschado George Periolat
Maria Patsy Ruth Miller
John J. Doyle Fred Kelsey
Duncan, ship's purser L. C. Shumway
Ripley, retired consul Gerald Pring
Servant Bert Hadley
some comment, but not exactly the one his hearer made.
"Of course," Ainsworth murmured, "it couldn't be any-
thing else. What can I do for you, Mr. Boos?"
The umbrella increased its tempo. "You can take this
here passport and ticket and go aboard the Steamship
Mariposa and git my luggage off'n her before she sails.
I've changed my mind. I'm going to stay over for the
Independent Order of Woodman's Ball."
The Unknown Lady had asked for the Mariposa — in
ten minutes Dudley Ainsworth, before whom even head
waiters were wont to grew servile, was hurrying up the
gangplank and diving down into a hold odorous of bilge
to seek the belongings of one Abijah Boos. Over
mountains of trunks and foot-hills of suit-cases he toiled,
bruising his shins and barking his knuckles. At last,
triumphant he emerged from the nether regions and
beckoned a steward : "I
have a couple of trunks
down here," he said briskly,
"I want you to throw them
off on the dock."
The man stared, grinned.
"Sorry, sir, but I cant
throw that far," he snick-
ered, jerking a thumb
toward a porthole, "you
see we're ten miles out
already !"
Ainsworth rushed to the
port-hole — green billows,
foam embossed, and not a
sign of land ! He shrugged
all responsibility from his
shoulders. Morrell, with
his idiotic wager had got-
(Sixty)
CLASSIC
him into this. Morrell must gel him out Bill <lul he
wani to gel out - wiuit if the lad) o( the black veal and
c\cs like the perilous ICU in faiiv lands forlorn wen- mi
board? Ho waa amazed .it tin- way hit pulses quickened
at the thought. He frit suddenly alive, eager, as he went
lip the companion \\a\ stairs to tin- smoking room.
Morrell, a tall glass m front of him. greeted him with
out surprise ami listened to his story with an (Mil)
perfunctory interest. His rotund countenance wore a
worried look as tho he were waiting for the worst to
happen. "Do you notice how we're rocking?" he asked
feebly, "always did hate the water! I gel seasick every
time 1 take a hath 'fraid I'm not going to he able to
help you much. Hut you're all right, you've got Boos'
passport and ticket "
"Think 1 look like that bird?" Ainsworth displayed
the whiskered countenance on the passport indignantly,
"it would take me a month to grow a crop of foliage
like that !"
The boat gave a lurch, climbed a steep wave and
shuddered violently. Morrell turned green, and rose in
haste. "Might take your own picture and stick it on
the passport." he murmured. "I— got a camera and flash-
light powders — oh Lord, I think we're rolling: worse
-ugh!"
Ainsworth strolled out on deck. Perhaps it would be
better to go back with the pilot. By the second time
around he was certain that it would. Habit reasserted
itself — how could he ever have dreamed for a moment
of impersonating a man with an unspeakable name like
Abijah Boos? What would Jarvis say ? He would have
to use the contents of the trunks in the hold and he knew
beforehand that Abijah would wear nightshirts. Im-
possible. He stopped, startled. A hand was rapping on
the glass window of the stateroom he was passing! As
he drew nearer, the girl whom he had seen in the travel
bureau appeared a moment at the port-hole. Hurried
words reached him thru the ventilator: "For the love
Above: The Yankee Consul poses for his picture
blissfully unaware that the suit of armor will
soon come to life and hack at him with the
battle-ax. Right, below. "A joke?" he asked
softly . . . "was it all a joke, my dear? The
things I said to you . . . the things you said
to me?"
of ze good Saint Mike zat you Americans worship.
do not leave me. I knew firs' time I see that you
were brave. I am in the so — great trouble but I
cannot tell you now, I write "
The ventilator clicked shut as another woman's
hand, old, but bedizened with rings, drew the girl
away from the window. And at almost the same
moment the foreign-looking gentleman who had
hustled her away in the taxicab strolled out on
deck, regarding Ainsworth with the smile of the
cat just before it devours the canary. "Ah-h!"
Dudley did not care for the way he said it. the
his tone was polite, "we are to be fellow travelers.
Permit me to introduce myself — Senor Jose
Leopoldo, ver' much at your service. And you.
senor. are ?"
Ainsworth made his decision rapidly. "My name
is Abijah Boos, and I am traveling to San Domingo
for my health."
Leopoldo tapped him confidentially on the chest with
a dazzling nail. "Take my advice, my young fren'." he
purred, "San Domingo will not be healthy for you. If
you are wise and do not wan' lose what health you a'ready
got, take a steamer back as soon as we land !"
A search among his namesake's effects confirmed Ainsworth's
forebodings as to that gentleman's taste in night-wear. Another
(Continued on page 100)
'Ssxiy-ont)
The Principals
of a
Notable
Production
Warner Brothers
Present
John Barrymore
Beau Brummell
At the top of the page is
Mary Astor in the role of
Lady Marjorie Alvanley.
To play opposite John
Barrymore is a distinction
of which this young girl
should be very proud.
Directly above is Carmel
Myers as Lady Hester
Stanhope. People are talk-
ing about her now as tho
she were a new discovery
Left is John Barrymore,
America's most distin-
guished actor, in the title-
role of "Beau Brummell,"
the stage play that
Richard Mansfield made
famous. Above is a bit
from the picture. This
film promises to be one of
the , truly great of the
season, certainly one of
the most beautiful and
(Sixty-two)
t
Abbe
The Rejected Suitor
An English Imitation of a Popular American
Gertrude Laurence does an imitation of Irene
Castle that is more like Irene than Irene is her-
self. Miss Laurence is an English beauty and
one of the stars of the starriest of English Revues,
Andre Chariot's. The Selwyns have imported
the whole troupe, body and soul, principally —
well, they are beautiful, and you will have a
chance to see their — well, every shining soul in
the late winter when the Revue will reach
New York City
(Sixty three)
Dixit
By DOROTHY DONNELL
"Yes," he continued, when the important matter of
which kind of pie was settled, "I get to the studio at nine
o'clock, work around here all day and afterwards go home
like a regular commuter. Sometimes I've thought that
maybe I ought to go in more for complexes or inhibitions
or something a little bit, well — goofy !"
Neither on the screen nor off, does Richard Dix play a
part. Every man knows him at once for a member of
the order of Reg'lar Guys, the chap he'd like to go fishing
with, the sort of boy he'd pick for a son or a son-in-law.
Every woman recognizes him the moment she sees him
as the Next Door Boy she went to school with and made
fudge for — the one who played short-stop on the high
eleven and sat evenings on the front porch railing while
(Continued on page 87)
Melbourne Spurr
Richard Dix is that rarity, a
Hollywood bachelor. He is
one of the most popular of the
younger leading men and has
just signed a five-year contract
with Famous Players
THE original little bird who
tells, people things has its
nest in a date palm on
Hollywood Boulevard. As soon
as you arrive in town, you hear
its piping:
"They say he isn't — well you
know
Here's the real dope on So-
and-So "
But there is one note notice-
ably missing in the litany of
gossip. That chatty little bird
has got nothing — not a single
darn thing on Richard Dix.
"No use trying to interview
me — everybody who ever tried
it says I'm too normal," he said
apologetically as we balanced our
trays on the rails in McComber's
Cafeteria. Some stars should be
interviewed only in a dramatic
setting of dark Tudor oak.
sandalwood scent and the half
light of flickering candles, but
the cheerful noonday atmosphere
of a cafeteria with the bracing
smell of coffee and the brisk
clatter of china as accompani-
ments seems a more fitting locale
for a chat with Dix.
(Sixty-four)
>
Norma Shearer
Is one of the younger movie set in Hollywood, of more than usual
promise. She has just completed the engaging role of Mimi, in "Lucretia
Lombard," second only in importance to the star
(Sixty- five)
The Hollywood
N
Above : The female
apache is Viola Dana,
pretty thoroly disguised
too. The young man-
about - to - end - it - all is
Warner Baxter, who is
playing opposite her in,
"In Search of a Thrill."
Right: Even Farina, the
great Hal Roach star, has
her directorial moments.
Her-or-er-his name, by the
way, is Allan Clay Hos-
kins. Below: Netta Wes-
cott, the English beauty,
visits Tom Forman's com-
pany while they were mak-
ing "The Virginian"
Transcribed by
OW that the worst of the excitement is over and we can all
breathe again, it is discovered that the casualties of the
motion-picture shake-up were not quite so terrible as they
sounded. Sundry and various people — mostly scenario writers —
are out of jobs; but the good old wagon is trundling along just
the same.
The truth is, the motion-picture panic was brought on deliber-
ately to reduce salaries to a sane point. Last April arid May
there happened to be a sudden scarcity of actors and the resultant
emoluments rose to a point that sounded like a handful of German
marks. Every actor bought an arithmetic and hunted up the
highest number he could find by way of weekly pay envelope.
There were various other business complications, but this was the
main reason for the closing of several studios.
Altho some of the big stars are a trifle chagrined to find themselves
"rented out" by the Famous
Players-Lasky Company to other
companies, th?re are not many
out of work.
Leatrice Joy has been passed
along to Thomas H. Ince who is
about to make a South Sea pic-
ture something on the order of
"Rain." The part of the mis-
sionary, in this instance, will be
taken by Percy Marmont who
made such a hit in "If Winter
Comes." The indifferent, cynical
husband will be played by
Adolphe Menjou. It is a terrific
tragedy.
Even Bebe Daniels, the darling
of the Lasky lot, has been rented
out. She is going to play
Katherine, in a modernized ver-
sion of "The Taming of the
Shrew," which is to be screened
by the youngest of all the pro-
ducers, Bennie Zeidman. Petruchio will be
played by Norman Kerry. Bebe feels very
much excited at the prospect of playing in a
Shakespearian production.
Bebe is also thrilled by the fact that her
young and girlish aunt. Elena Griffin, who
was formerly an actress, is going back to her
screen career. It isn't every girl who has an
opportunity to chaperon aunty past the pit-
falls that lurk in the cinema.
Charlie Chaplin, I understand, is again
busy with soul revelations. Every so often,
Charlie feels that he should write the real
story of his life, sparing nothing; just ripping
the cover off his innermost ego in the fashion
of Mary MacLean. The trouble is, when
Charlie comes to read it over, it always em-
barrasses him so that he tears it up.
Charlie has a devoted friend who is one
of the great surgeons of the world. They
have the most ferocious quarrels over
Charlie's autobiography and the doctor
(Suty-sur)
Boulevardier Chats
HARRY CARR
llways ends bj storming out of the house with the remark " \H
I ask is to get that fellow in a bed in my hospital sometime;
I'll show him."
So mam girls are pouring into Hollywood looking for fame
ami fortune in the movies that the Hollywood Chamber of
Commerce is issuing a circular warning, to be sent to the four
quarters of the earth, telling pretty girls thai the movies are
already overcrowded and there isn't a chance in ten thousand of
getting a living joh in any studio.
The overflow of talent and beauty has created a curious industrial
condition in Los Angeles. The
employment agencies are so
crowded with youth and baffled
beauty humbly looking for jobs
stenographers, etc.. that a
plain girl hasn't a chance.
Los Angeles business men,
seeking help, have grown so
amazingly particular as regards
the pulchritude of their hired
help that one man even sent in
an order for a girl who would
look well with his new set of
mahogany furniture.
The disappointed girls who
cant even stenog will face a
hard winter. The charity or-
ganizations of Los Angeles
have helped many to go back to
the homes they left.
The champion scandal of the
winter has been provided by
Barbara La Marr, who electri-
fied Hollywood by causing the
arrest of a well-known theatri-
cal lawyer on a charge of black-
mail. According to her accusation, he de-
manded $25,000 to suppress a divorce suit
about to be brought by her husband, N.
Bernard Deely, in which, the lawyer said,
thirty-seven co-respondents were to be
named. Mr. Deely denies that he had any
connection with the affair. Thru the help
of Miss La Marr's manager, a trap was laid
for the lawyer with marked bills. He is
now out of jail on bail.
When the detectives searched his office,
they found what seemed to be the papers
of a suit for divorce in which Blanche
Sweet was plaintiff and Marshall Xeilan,
her husband, was defendant. According
to the allegations of the suit, Blanche al-
leged that Mr. Neilan had married her only
to defraud her of her legal rights and had
thereafter refused to live with her. Both
Xeilan and Miss Sweet say that the paper is
a fake ; that they are living together happily
and that no divorce suit was ever thought of.
Above: Ella Hall, the
wife and star of Emory
Johnson, and their two
cunning youngsters, pose
for their picture in their
own charming garden.
Left: Walter Hiers dem-
onstrates his versatility
in a most alarming man-
ner. We trust the sword
swallowing is not to be a
permanent performance.
Below: The beloved clown
of the screen, Will Rogers,
is introduced to "Our
Gang" by little Mickey
Daniels, their leader
(Sixty-seven)
CLASSIC
Above: The great
prima donna, Mar-
gar etc Matznauer,
and her daughter
Adrienne meet
Elinor Glyn on a
recent visit to
Hollywood. Right
is a sketch of Jaq-
ueline Logan as
Bessie Brook in
"The Light That
Failed"
Cecil De Mille who will start the new production program,
at I^asky's, with "Triumph," has just returned from a bear hunt
in Sonora, laden with trophies and with the profound thanks
of an old mother bear. He found some rough gentlemen bears
and slew them, but all that his hunting companions could find
was a mother bear with a cub. In spite of his protests, they
insisted they would hunt her to death the following day.
Whereupon Cecil arose at the dewy hour of 4 A. M. and
covered up the bear tracks and popped noisily around with a
gun until he had warned the mother bear. He finished the trip
more popular with lady bears than with irate hunters.
He celebrated the end of his summer vacation with a grand
outing party at his ranch in the Little Tujunga Canyon at which
he gave each of the guests a jewel of great price as a souvenir.
De Mille's ranch is a wonderful estate but extremely inac-
cessible in the heart of the mountains.
Renee Adoree cracked five ribs and all but mashed her face
in the other day when the brake of her automobile kicked
up and let her slide down-hill into the front of a
rapidly approaching street-car. Her motor was
smashed into splinters and so was she — almost.
She is now in a hospital dwelling in deathly
terror least some of her friends will visit
her. The reason for Renee's lack of so-
ciability is that her nose was badly mis-
used by the street-car and she has to
wear an immense plaster right across
the front of her countenance.
When Claire Windsor sailed the other
day for the wilds of Algeria to ap-
pear in a motion-picture with Bert
Lytell, she is reputed to have left an
aching heart behind her, said organ
pounding' in the thorax of John Steele,
the tenor. Claire runs neck and neck
with Constance Talmadge in the number
of engagement rumors.
The beautiful Connie, by the way, has re-
turned to the Coast after a Fifth Avenue vaca-
tion, quite content to be a
Californian. She has always,
until now, felt like an exile
when in Hollywood ; but the
big town didn't seem to have
the same charm this time.
For some reason, very few
of the actors want to return
East to live any more.
Tit A
Above: One of the
cast of King Vidor's
"Wild Oranges"
looks things over.
Right is — well,
really, the picture is
self-explanatory
W I AT iH
K I C K
Eugene O'Brien, who is
one of the California con-
verts, is in the throes of
house-building. That is to
say, of house-settling, for the
edifice has been completed.
His friends accuse Gene of
trying to carry off all their
furniture. They say that
whenever he comes to call
now, he casts baleful and
covetous eyes at all the choice
things in the house and
wants to convince you they
(Continued on page 74)
(Siity eight)
Jin Interview with Mrs. O.H.P BELMONT
on the care of the skin
•■A wiiman who neglect! hr i personal ap-
pearance loses hall h« influence. 1'hc wise
care ot one' i body consti ucti the frame en-
circling our mentality, the ability ot which
insure* the luccesi oJ one's lite. 1 advise a
ilailv kinc «>t Pond' a I wo Creams."
CUuk * ■ fitbuycC—
JT was in the beautiful great hall
of Beacon Towers on Sand's
Point, Port Washington, Long
Island, that I first talked with
Mrs. O. H. P. Belmont.
1 was excited and eager for the inter-
view because I knew that Mrs. Belmont
not onlv has given lavishly to women's
causes from her colossal fortune, has been
and is a tremendous worker, but also is par-
ticularlv interested in woman's special prob-
lem of how to keep her force and her charm
through middle life and later.
From all this I expected to meet a very
commanding woman the day 1 visited Beacon
Towers. But Mrs. Belmont, on the con-
trary, is quiet and gracious and sweet. She
could not have been a more charming
hostess.
She herself opened the grilled iron door
and I stepped into the big hall with its im-
pressive mural paintings of the life of Joan ot
Arc and its wide doors opening straight onto
Long Island Sound. Here, I felt instantly, is
the spirit of beauty strengthened by sincerity.
After we had admired the glorious view
she showed me the pictures of her two sons,
and of her grandson, who will some day be
one of England's dukes, and — very proudly
— the latest snapshot of her very young Lady-
ship, a small great granddaughter.
"How fine textured and fresh her skin is,"
I thought. And she has just acknowledged
herself a great grandmother!"
'Begs Women not to D^Cjglect Themselves
""KTOW," she was saying smilingly, "I
i.^1 suppose you want me to tell you what
1 think is the relation between a woman's
success and her personal appearance."
"Yes," I admitted, "Just how important
do you think personal appearance is?"
"It is vital. That is just as true for the
woman at home or in business as for those
who are socially prominent.
"Don't you know," she said, "how
often the woman with an unattractive face fails
in the most reasonable undertaking ? Nothing
is so distressing. Neglect of one's personal
attractions generally comes from ignorance
and as I am greatly interested in the success
ot women in every possible way, 1 urge
them not to neglect themselves."
The Library of \Mrs.O. H. P. Belmont
at Beacon Towers on Long Island, >here
this interview was given.
Mrs. Belmont, now President of the
National Woman's Party is known all
over America for her active services in
securing the suffrage for women. Mrs.
Belmont is also interested in better condi-
tions for women, is strong for the aboli-
tion of child labor and for the improve-
ment of Children's Homes. She is a
trained architect; her three magnificent
residences — Villa Isoletto in France,
the famous Marble House at Newport,
and the imposing country home, Beacon
Towers on Long Island, being the products
of time not devoted to politics and business.
Frtnckw»mm '</>, Cltanst and Prtttct
Y<n ipend i put or* each year in Prance.
Do Frenchwomen use creami much?"
I asked Mrs. Belmont.
"In Prance," ihe said "the) have alwayi
used cleansing creami and protecting
Cream*, knowing that water is not enough
and that the face cannot stand much
strain and exposure."
"Then you think women should use
tw o iTearns?"
"I know they should. That is why I ad-
vise the daily use of Pond's Two Creams,
so that women can keep their charm and
influence as long as they need them — and
that is always," she smiled.
Use this Famous <JftCethod
/"MVE your skin these two indispensables
^-* to lasting skin loveliness — the kind of
cleaning that restores each night your skin's
essential suppleness, and the freshening
that, besides protecting, brings each time the
beauty of fresh smooth skin under your
powder.
For this, two distinctly different face
creams were perfected — Pond's Cold Cream
and Pond's Vanishing Cream.
Every night — with the finger tips or a piece of mois-
tened cotton, apply Pond's Cold C're.im freely. The ver\
fine oil in it is able to penetrate every pore of vour >kin.
Leave it on a minute. Then remove it with a soft cloth.
Dirt and excess oil, the rouge and powder you have used
during the day, are taken off your skin and out of the
pores. How relaxed your face is. 'Do thu t-.vice.
Now finish with ice rubbed over your face or a dash of
cold water. Your skin looks fresh and is beautifulk
supple again. If your skin is very dry, pat on more cream,
especially where wrinkles come first — around the eyes,
the nose, the corners of your mouth — and leave it on
over night.
After every cleaning, before you poicder , and aliia\i
before you go out — Smooth on Pond's Vanishing Cream
very eienls — just enough for your skin to absorb. Now
if you wish, rouge — powder. How smooth and velvety
your face feels. Nothing can roughen it. When you
get up in the morning, after a dash of cold water, this
cream will keep your skin fresh and untired for hours.
And it will stay evenly powdered.
Use this method regularly. Soon your face will be
permanently fresher, smoother and you can count on
the charm of a fresh, young skin for years longer than
would otherwise be possible. Begin now. Buy both
Pond's Creams tonight in jars or tubes at any drug store
or department store. The Pond's Extract Comp-im.
GENEROUS TUBES
MAIL THIS COUPON WITH ioc TODAY
The Pond's Extract Co.
132L Hudson St., New York
Ten cent, (toe) is enclosed for your special introduc-
tory tubes of the two creams every normal skin needs-
enough of each cream for two weeks' ordinary toilet uses.
Tond's Tiuo Creams
used by the women who must keep their
charm, their beauty, their influence.
EVERY SKIN NEEDS THESE TWO CREAMS
Nime-
Street-
Citv—
(Sixty- nine)
\1be Movie uhcyc lopdedi
Brown Eyes. — Hope you haven't broken any of your resolu-
tions. Gertrude Messenger is fourteen and Buddy is her brother.
That was Hope Drew in "Hollywood." Marie Prevost and Harry
Myers in Elinor Glyn's "How to Educate a Wife."
Mildred P. — Well, I will try to believe you, but as Ovid said :
"We are slow to believe what, if believed, would hurt our feel-
ings." So you like Mary Hay. So do I. Richard Barthelmess
in "The Enchanted Cottage." All right, come along any time.
I'm always here.
A Reader. — Tom Mix has deserted the Western pictures for a
story of the North, "North of the Hudson Bay." Kathleen Key
supports him, but Tony the famous horse is not in the cast.
Bertha C. — You have the right idea, "God made the country,
but man made the dangerous curves." Watch your step. Yes,
Bert Lytell is married to Evelyn Vaughn. He is in Europe now.
Conrad Nagel is with Goldwyn, and is playing in "Three Weeks."
Also in "Blood and Gold." Yes, I shall buy me some buttermilk
with the fee you enclosed.
Margaret M. — You had better watch your calories, and re-
member that there are 3,000 calories per pound in peanuts. This
is nearly three times as much as in any other food. The colon
is five feet long. Why Hope Hampton has red hair. Oh yes,
Alice Calhoun, Miss Dupont, Wanda Hawley, Pat O'Malley and
Warren Kerrigan in "A Man from Brodney's."
Cherry Stone. — Yes, I love them too. Any kind of shell food.
I see you are all for Richard Barthelmess. Yes, he is twenty-
eight, and born in New York City. Married to Mary Hay. Pola
Negri in "Shadows of Paris" and "Sans Gene."
Marguerite. — I should say you are not old. The oldest widow
on the U. S. pension rolls is now past one hundred and four
years of age. No, Norma Talmadge is not playing in "The
Garden of Allah" now, but she hopes to do that picture some
time. Cullen Landis is twenty-eight.
Waipukuran. — No, I am not that old. I dont remember the
Battle of Waterloo which was fought on June 18, 1815. Yes, I
would be glad to have the views. No, I have never been to
Honolulu, but I should like to go some time.
Evelyn Brown Eyes. — Alas ! Many an enamored pair have
courted in poetry, and after marriage lived in prose. Barbara
Castleton, Albert Roscoe and Raymond Bloomer in "The Net."
Edna B. — Thanks for the card. Guess you know all I know
about Valentino, so there isn't any more.
Jeanie. — As Charles Kingsley says : "Never lose an opportunity
of seeing anything beautiful. Beauty is God's handwriting, a
wayside sacrament, it is a charmed draught, a cup of blessing."
Jack Mulhall is married to Evelyn Winans.
Feathers. — Cheer up, no man is free who is not master of
himself, and hope is a splendid thing for such as have the
strength to bear it. Eddie Burns in "Jazzmania." Rodolph
Valentino was born on May 6, 1895. No, I dont know his favorite
color. What next !
Bright Eyes. — Knowledge will
introduce you, and good breeding
will endear you to the best of com-
panies. So you should like to see
me dancing with my long beard.
You'd be surprised. I can do the
new finale, too. So you would
like to see more of Miriam
Batista. She is playing right along.
Yes, Mahlon Hamilton and Betty
Blythe in "Recoil," now being made
abroad.
Syrie. — Well, the highest exercise
of charity is charity towards the
uncharitable. That was Orvtlle
younger. I certainly
another birthday too.
Blue is not married,
her husband's name.
This department is for information of general interest
only. Those who desire answers by mail, or a list of
film manufacturers, with addresses, must enclose a
stamped, self-addressed envelope. Address all in-
quiries: The Answer Man, Classic, Brewster Build-
ings, Brooklyn, N. Y. Use separate sheets for matters
intended for other departments of this magazine. Each
inquiry must contain the correct name and address
of the inquirer at the end of the letter, which will not
be printed. At the top of the letter write the name
you wish to appear, also the name of the magazine you
wish your inquiry to appear in. Those desiring imme-
diate replies or information requiring research, should
enclose additional stamp or other small fee; otherwise
all inquiries must wait their turn. Let us hear from you.
Caldwell in "The Eternal Two" with Corliss Palmer. Yes,
Wallace Beery in "Patsy." Ramon Novarro in "Thy Name is
Woman." He is now in Egypt playing in "The Arab."
June. — Your letter is mighty interesting, and I would advise
marriage and a home with kiddies for you, in preference to a
business career. You dont seem to belong to the business world.
As Robert Louis Stevenson says : "To marry is to domesticate
the recording angel. Once you are married there is nothing left
for you, not even suicide, but to be good."
Mama's Baby. — Well, well, well, what do you mean by saluting
me as "Hello Kid." Well, I should worry, it makes me feel
am over eighty years old, and just had
Father Time and I are twins. No, Monte
Aileen Pringle is married, but I haven't
No, Richard Dix is not married.
Tuesday. — Call on a business man at business time only, and
on business, transact your business and go about your business,
in order to give him time to attend to his business. I should say
you are frank. Address Constance Talmadge at United, 5341
Melrose Avenue, Los Angeles, California.
American Beauty. — What do you expect? He that would
have the perfection of pleasure must be moderate in the use of
it. Noble Johnson was Friday in "Robinson Crusoe." No, none
of the players you mention are married. So long for this time.
Happy.— I'm glad of that. Address Ruth Roland at 3828 Wil-
shire Boulevard, Los Angeles, California. The little boy is Edward
Treboal. Come in again some time, but you must shun idleness,
as it is the rust that attaches itself to the most brilliant metals.
Mrs. C. R. T. — That's pretty classy paper you are using, was
it a Christmas present? Lucille LaVerne was Gloria's Aunt in
"Zaza." You know that Mary Pickford adopted her sister
Lottie's child. Tell your hubby he is all wrong.
Tom Mix. — So you think I am very successful. 'Tis to laugh.
Most people would succeed in small things if they were not
troubled with great ambitions. Yes, Tom Mix is with Fox, 1401
Western Avenue, Los Angeles, California. He has brown hair.
Address Rodolph Valentino at Ritz-Carleton Productions, 6 West
Forty-eighth Street, New York City.
Olive. — No, I never lend. Friendship ends where loan begins. Flo
Hart was Kenneth Harlan's first wife. Yes, to your last. Selah!
Anna S. — No, Monte Blue is not married now. You can reach
him at Warner Brothers, Bronson Avenue and Sunset Boulevard,
Los Angeles, California. Conway Tearle is married to Adele
Rowland. I know that King Baggott has been asked to produce
"Ivanhoe" by an English company, but I am not sure that he .will
do so.
Dulcy. — Oh, are you a dulcy ? Knowledge and timber should
not be much used till they are well seasoned. Norma is twenty-
eight and will be twenty-nine May 2nd. Jack Mulhall is free
lancing right now, and Claire Windsor is with Goldwyn.
Comanche Kid.— Hurrah I Well,
if you ever come across some one
who thinks he knows it all, treat
him as if he did, and let him go.
Buck Jones is twenty-eight and is
playing in "Cupid's Fireman." I
do believe Jane Novak is Swedish.
Emma F. M. — And books are
windows thru which the soul looks
out. Barbara Bedford was Mona,
Carl Miller was Claude, Barbara
La Marr was Kate in "Cinderella of
the Hills." Reginald Denny is married
to a non-professional. The same of
Buck Jones. Write me some more.
(Continued on page 82)
(Seventy >
Hi fwmd htr ft Lull
She u.n utility in iht
garden — Just H
the belonged.
She i/uiitf) <■
her I it tit maik up to her
tyu ,i' /n uppneubtd.
' 'Oh, net ir mind.
FairStrangtr —lhttOH
u ha tun .ire. You lire
a run di\glii\ed a* .'
Bel ul if li / I jul) . '
Protecting your skin
with powder and rouge
By Mme Jeannette
OH, you lucky women of today who know — or can learn —
the pleasant roads to Beauty through fragrant avenues of
cosmetics that help and do not harm! It is a proven fact
that good cosmetics actually benefit the skin.
A pure, harmless vanishing cream,
powder, or rouge, such as
Pompeian, performs a distinctly
beneficial service to the skin, in
addition to its beautifying effect.
This service is that of protec-
tion. Creams, powders, and rouges
all put a soft, gossamer film over
the delicate surface of the skin
that guards it from sun and wind,
dust and dirt.
Again, the lip stick tends to
protect the lips from chapping,
roughening, and cracking. It keeps
them soft and mobile.
Pompeian Day Cream (vanish-
ing), Pompeian Beauty Powder,
Pompeian Bloom (the rouge),
and Pompeian Lip Stick, like all
Pompeian Preparations, are abso-
lutely pure and harmless. They
ire formulated with a care as great
as though they were intended for
medicinal uses and in a laboratory
always scrupulously clean.
Coupled with their purity will
be found the other desired qual-
ities of cosmetics — naturalness of
effect, high adhering property,
attractiveness of perfume.
Do not overlook the impor
tance of the Day Cream in achiev-
ing the most successful effects
from the use of other Pompeian
" Instant Beauty " Preparations.
This cream provides a foundation
for powder and rouge that makes
them goon moresmoothly, adhere
much better, and blend with each
other more perfectly than when
they are used without it.
V
' 'Don 'tEnt) Beaut) —UsePompeian ' '
DAY CREAM ipmwiMugi 60c per jar
Beauty Powder
Bloom abt rouge)
Lip Stick.
Fragrance
Night Cream
\cnld irtam)
60c per box
60c per box
25c each
25c a can
60c per far
Get 1924
Pompeian Panel and
Four Samplei
For Ten Genu
The newest Pompeian
art panel, done in pas-
tel by a famous artist.
and reproduced in rich
colors. Mze lK x 7$ in.
Kor to cents w e \* ill
send vou all of these:
The 1914 Ueiulv
Panel, "Honeymoon
ing in the Alps," and
samples of Da v Cream.
Briun P o Vile r ,
Bloom and N ip Fit
Cream Tr,ir •£ the
Cuuftll '!»!(>.
POMPEIAN LABORATORIES, CLEVELAND. OHIO
Also Mtittt in CanaJti
r?5£ttS3^^^^'^^-r^,i5XZ? ■?'.
r£?w. SPtOasSEHEaE? >2Si£
■ r pMnprilln Co
V^
IS vol k SKIN
A GRAT1 1 11 SKIN
l in n- i% .in intriguing lot el
kboUl a 1 l«M •> k 1 ri
Rate-petal enchantments o( the
skin art much RlOfC pOttiblc tO
attain than ih< average woman
reaJiza
Pompeian Night (.nam i\ .1
necessity to tins cultivation ot a
lovely skin li is a remarkable (.leans
mg cream, and at the same time 11
has properties that make it healing
and softening to the skm
A Cleansing Cream
A dirty skin does not always de-
clare its unclcanliness by an im-
mediate appearance of being dirty.
Pompeian Night Cream is su-
premely effective- as a cleanser. It
is pure, and scientifically com-
pounded, and effectively accom-
plishes its work in cleaning the
skin.
Just before retiring, and while
your skin is still warm from the
pleasant exercise of your bath,
apply the Night Cream to your
face and neck and shoulders. Use
your finger tips for the application
of the cream, rubbing it in swift
little circular movements. This
will loosen the dirt and release the
closed pores to healthy activity.
Wipe off with a soft, clean cloth.
A Softening Cream
The continued use of soap and
water will make the average skin
very harsh, and this harshness en-
courages wrinkles and other skin-
unsightliness. Pompeian Night
Cream counteracts this tendency
and softens with its healing
qualities.
If your skin is very dry it will
be helpful for you to use this
cream every morning and night
regularly. But if your skin is oily
it will be sufficient to give it a
thorough cream bath at night only,
following it with a quick ice rub.
Specialist* en Heauic
\
L
TEAR OFF, SIGN. AND SEND
POMPKI IS I IVOR \TORIES
212B I'amc Avenue, norland, oh,..
I.intli-mcn: I enclose IOC 1a dime prcli r-.
19241'ompeian \rt Panel. " II 1 moonineinthe
\lps," and Lhe four samples named in nfsr.
Name
IddiCM
5f»t.
What ^hade ol face powder >>m
(Seventy-one)
The North Wind Doth Blow
And We Shall
Below is Beverly Bayne
(Mrs. Francis X. Bush-
man) and her little son
out at the Whitman
Bennett studios enjoy-
ing themselves between
scenes
Have Snow-
Above : Little Fay
McKenzie and
Frankie Darro
are tired and cold
and they dont
care whether
they lose their
jobs or not. They
are on location
for "Judgment of
the Storm." Di-
rector Del An-
drews excused
them for the day
Across the top of the
page are Tom Mix and
some of his company
way up— "N orth of
Hudson Bay." Below
is Hedda Hopper at
her home on Long
Island
(Seventy-two)
Are You Ready for the Ash-Can?
Do you realize what it means to neglect your body? Do you know that you will clog up with
waste matter and deaden your life just as ashes do in a furnace? Are you going to drag yourself
through a life of misery and be ready for the undertaker when you should really be only start-
ing to enjoy life? Come on and brace up. Take a good hold of yourself and shake those cob-
webs out of your brain. Give me a chance at that weak backbone of yours and let me put a pair
of man sized arms into those narrow shoul-
ders.
Pills Never Made Muscles
I am not a medical doctor. I don't claim
to cure disease. Neither do I put any self-
assumed title <of Professor before my name.
/ am a builder of muscle — internal as well
as external. I claim and can prove that by
proper exercise you can even build muscle
in and around your heart and every vital or-
gan. The kind that shoots a thrill through
your veins and reaches every crevice of your
body. I add years to your life, and oh boyl
what a kick you get out of every day you
live. And talk about big, brawny arms and
legs, or broad backs and husky chests — just
take a look through this winter's copies of
Physical Culture Magazine and see for
yourself. You will see a few pictures of my
pupils there — living examples of the Earle
Liederman system — doctors, lawyers, busi-
ness men, but every last one of them good
enough to pose as professional strong men.
Some are in better shape than men who are
now acting as instructors to others.
Pep Up
What are you going to do about it? Don't sit idle
and wish for strength. That will never bring it. Come
on and get busy. You must have it, and I'm going to
give it to you. I don't promise it, I guarantee it. You
don't take any chance with me, so come on and make
me prove it.
Earle E. Liederman
America's Leading Director of Physical Education
Send for My New 64-Page Book
"MUSCULAR DEVELOPMENT"
It contains forty-three full-page photographs of myself and some of the
many prize-winning pupils I have trained. Some of these came to me as
pitiful weaklings, imploring me to help them. Look them over now and
you will marvel at their present physiques. This book will prove an
impetus and a real inspiration to you. It will thrill you through and
through. All I ask is 10 cents to cover the cost of wrapping and mailing
and it is yours to keep. This will not obligate you at all, but for the sake
of your future health and happiness, do not put it off. Send today — right
now, before you turn this page.
EARLE E. UEDERMAN
Dept. 1802, 305 Broadway, New York City
EARLE E. LIEDERMAN
Dept 1802, 305 Broadway, New York City
Dear Sir: — I enclose herewith 10 cents for which you
are to send me, without any obligation on my part
whatever, a
Development.
opy of your latest book, "Muscular
rlease write or print plainly.
Name.
Street.
City.
.State.
(Seventy-three)
A perfect base
/or face powder Apply
a little cream. When near
ly dry dust on the powder
Copyright 1923
A. S. Hinds Co.
In the sick room Binds Cream
gives grateful comfort to the
patient, also keeps nurse's hands
soft.
Chapped checks,
hands, knees,
and ankles
quick ly re-
lieved with
RindsCream.
For baby's skin troubles Hinds
Cream soothes and comforts. Di-
lute the cream one -half with
water.
^ow for fds^Jace I
Qts mve fam
J(amas Qmpfexion (ream
COLD winds injure a delicate, tender com-
plexion, and so does the sudden change
from indoors to frosty air. Roughness and
chapping usually follow any prolonged ex-
posure unless the skin is protected with a
softening and healing emollient like HINDS
Honey and Almond CREAM.
Many who love the bracing, cold weather
have found that by applying Hinds Cream to
any sore, irritated surfaces, or to parts of
the body that have been chafed or com-
pressed by warm clothing, they can make
themselves comfortable at once.
You can use this cream freely at any time,
on the face, neck, arms and hands, with abso-
lute assurance of deriving gratifying results.
It is economical and agreeable. The treat-
ment is simple.
Hinds Cre-mis Face Powder, surpassing in quality and
refinement; distinctive in fragrance and effect. White,
flesh, pink, brunette. Boxes 60c, 15c. Samples 2c.
All dealers sell Hinds Honey and Almond Cream, 50c,
$1.00. We will mail a sample for 2c, trial bottle, 6c
traveler size, 10c. Try-out box of 5
samples, assorted, 10c. Booklet Free.
Write A. S. HINDS CO.
Dept.22, Portland, Maine, U.S.A.
fa Southern win-
ter resorts Hinds
Cream is depend-
ed upon by tour-
ists to keep the
complexion at*
tractive.
After shaving dSO
Hinds Cream to soothe and relieve
irritation from close shave or soap.
If you have ever wondered what
the ten commandments looked like,
here they are
The Hollywood Boulevardier
Chats
(Continued from page 68
would look better in his house than
in yours. He is now the leading man
for Norma Talmadge in "Secrets."
Pola Negri bravely signalized the
fact that she has torn all the "Ritz"
out of her soul one day this week
when she ordered the wall that sur-
rounds her "set" torn down. When
she first came to Hollywood, she was
very up-stage and whenever visitors
came, she demanded to know who
"those people" were and insisted that
they be shooed off. But, as time
goes on, Pola becomes a regular fel-
low. Now she works out in the
open with the rest of the folks like a
nice girl. Upon the completion of
her latest picture, "The Shadows of
Paris," she is going on a long vaca-
tion to Honolulu where she will
probably pass the holidays. It will
probably be February before she
begins another picture. It is very
likely that this picture will be
"Madame Sans Gene."
Laurence Trimble, who directed
the "Strongheart" dog stories, has
discovered another Richard Barthel-
mess, so he thinks, in the person of
a twenty-year-old Dartmouth col-
lege boy named Allen Vincent whose
father is a banker in Seattle. Trim-
ble met him in New York and gave
him a five-year contract after two
days' acquaintance.
One of the saddest events that the
film colony has ever suffered came
this week with the death of Allen
(Continued on page 89)
(Sez>enty-fourJ
Ihehside Stoiw/ftincess Pat
By the Only Woman Who Witnessed the Discovery
of the Complexion Tint that Duplicates Nature
""Now Watch what happens !"
i ou could Kave heard a pin drop
.is the analyst's words caused all
eves to gaze intently at my taee.
Science had solved an old and
perplexing beauty problem with
a new, mysterious tint. The
moment had arrived tor demon-
stration.
Two years of hard work led up to
this hour of triumph. There had been
day and night testings of rouges — of
every conceivable color.Whole weeks
devoted to tirstoneshaderhen another
in an effort to overcome that com-
mon fault of all the old-fashioned
rouges — the purplish, artificial look
which makes their use so obvious.
Then the day when the right tint
was found! It is an interesting story.
Ho-w the Trite Tint Came to Light
When a new use of ingredients pro-
duced this first "true" tone it was
regarded curiously; no one realized its
full significance; so different was the
color, it was fortunate we even tried it.
But the rule was to test everything on
the face. So for the thousandth time
a new tint was applied to my cheeks.
The first demonstration of this mar-
velous new color brought one sur-
prise after another. It was first be-
lieved to be just a particularly happy
choice for my complexion — or for
skins the same as mine. But tests
quickly followed on every conceiv-
able type of skin from darkest to
lightest — with the same miraculously
natural result. Then came thethought
that perhaps only sparing use could
be made of the new tint. So to the
tiny amount that had achieved the
perfect color, more and more of the
tint was applied. 'The coloring merely
deepened; there was no sign ft
artificiality. Next came the ques-
tion ot lights and exhaustive li^ht
tests made the triumph complete.
Even old-time rouges were accept-
able in the kindly gleam of lamp
or candle light, but the Tint
called Princess
Pat stands the
severe test of a
brilliantly light'
ed room, or glare
of noonday sun.
The new tint be-
comes and ap-
pears your color
from the moment
applied. Nature
varies it on your
face and unfail-
ingly produces
exactly the right
degree and tone
to give the color
you should have.
That is why you are not aware of the
numbers all around you who use this
new natural tint. The color is too
natural to permit detection. So wo-
men who never used ordinary rouge
have taken joyfully to Princess Pat.
Really Waterproof
Since the day Princess Pat tint was
introduced many thousands have
made its acquaintance. It is the iden-
tical tint today as when the first tiny
bit was produced and tried; and it
brings the same color charm to any
cheek. You'll be glad to know it's
been made waterproof — completely
so. Profuse perspiration will not affect
it — nor even surf bathing — yet a bit
of cream, or soap removes it. '
And remember: there's only one
shade! No "matching" — no need to;
for this true tone blends with any
A Tint That No Light Could Make Appear Unreal"
complexion. Science thus gives you
the means of imparting natural color
to your cheeks — to any degree de-
sired. A color that's perfectly natu-
ral— color you can control — a gentle
glow of color that has no beginning
or end — a tone only blending can
bring. Why use an obvious rouge?
Try Princess Pat!
Avoid Imitations
The success of Princess Pat Tint has
called forth many sccalled "orange
rouges." But these lack the secret
which causes Princess Pat Tint to
change color when applied — and
without this secret Nature cannot
blend the color to exactly meet the re-
quirements of your individual need.
IPnnees
The GP{eTV, Natural Tint : Always Ask for It by Name
PRINCESS PAT, LTD., CHICAGO, U. S. A.
Princess Pat Tint- Ice Astringent— Creams— Lip Stick— Ponder- Princess Pat Perfume
NOTE: — 'Princess 'Pat Lip Stick gives natural
color to the lips— just as Tint does to the cheeks. It
exactly harmonizes with any complexion, any color-
ing and any light. Cannot be detected as artificial.
FREE!
Until the shops have been sufficiently
6tocked with Princess Pat Tint to meet
all calls for it. we shall take pleasure in
sending to individuals a week's supply
— without charge.
PRINCESS PAT Ltd.
2701 S. Wells St.. Uept. 42, ^ hicago
Entirely FREE, please forward me
postpaid, a complimentary supply of
the new Princess Pat Tint.
Name Print*
Street
City
State
(Seventy-five)
^m^-
i
rnceiess oervice
Despite fire or storm or flood, a telephone operator sticks
to her switchboard. A lineman risks life and limb that his
wires may continue to vibrate with messages of business or
social life. Other telephone employees forego comfort and
even sacrifice health that the job may not be slighted.
True, the opportunity for these extremes of service has
come to comparatively few; but they indicate the devotion
to duty that prevails among the quarter-million telephone
workers.
The mass of people called the public has come to take
this type of service for granted and use the telephone in its
daily business and in emergencies, seldom realizing what
it receives in human devotion to duty, and what vast re-
sources are drawn upon to restore service.
It is right that the public should receive this type of tele-
phone service, that it should expect the employment of
every practical improvement in the art, and should insist
upon progress that keeps ahead of demand. Telephone
users realize that dollars can never measure the value of
many of their telephone calls. The public wants the service
and, if it stops to think, cheerfully pays the moderate cost.
American Telephone and Telegraph Company
And Associated Companies
BELL SYSTEM
One Policy, One System, llniversal Service
PERFECT NOSE FOR YOU
AWMPi-JheQenuine-
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f "for distinguished service to
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Feb. 1923.
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of imitations! Write todav (jus! your name and address) for FREE Booklet, "Happy Days Ahead," which
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The ANITA Company, Dept. 229, ANITA Building, Newark, N. J.
Rhythm and Rebellion
(Continued from page 36)
Two important events had oc-
curred the day of our interview.
First, she had turned down one of
the most coveted roles Goldwyn had
to offer, the film to he made in Italy,
too. "If anyone had told me a year
ago that I would do such a thing, I
would have thought him crazy,"
said Eleanor. "But after considering
it from everv angle. I felt it was
best."
Then, Goldwyn had loaned her to
Universal and on the morrow she was
to begin work on a film version of
Booth Tarkington's "The Turmoil,"
under Hobart Henley's direction,
playing the leading character.
We fell to talking of her various
roles. Her first was in "Gimme,"
then came "The Stranger's Banquet,"
where she had her only chance as a
"heavy" — and liked it. Then came
Amelia in "Vanity Fair," which she
feels was too weepy but which the
critics united in declaring to be a
beautiful portrayal. This brought
her to the leading role in Rupert
Hughes' "Souls for Sale," and every-
one recalls her delightful Sidney in
"Three Wise Fools." "The Day of
Faith," soon to be released, shows
her in a straight leading role.
Miss Boardman has an intriguing
way of viewing herself and her work-
in a detached manner, and she studies
her limitations as well as her possi-
bilities. This is an encouraging sign. ,
She is not content to win thru her\
beauty, nor are her eyes blinded by
her success, but are sharply alert to
future triumphs.
Do' dreams come true?
Ask Eleanor Boardman.
O FOOLISH WIND
By Louise Liebhardt
O sighing wind among the willow wands,
O sobbing wind among the willow wands
Where rests thy heart whose breaking
seems to shake
The fragrant stillness of the night, and
moaning cadence make
Of all that borders oh this secret pool.
O grieving wind among the willow wands,
O weeping wind among the willow wands,
Hast lost thy love, who fickle from thee
now hast turned
To seek new romance ? Ha ! Hast thy
love fires burned
Thy heart to ashes ? Thou art fool.
O moaning wind among the willow wands,
O foolish wind among the willow wands,
To mourn one love when many wait but
for the breaking dawn
To seek thy kisses, and upon thy favor
fawn.
Waste not thy tears. The night has turned
thee fool.
O simple wind among the willow wands.
O silly wind among the willow wands.
(Seventy-six)
^yljamlousMw Spanish liquid
Tviakes any hair naturally curly
in 2o minutes
The Spanish Beggar's
Priceless Gift
by If in ii i) it J Ralston
FROM rhe day we starred to school, Charity
Winthrop and 1 were called the tousled-
hair twins. Our hair simply wouldn't behave.
As we grew older the hated name still cliini:
to us. It followed us through the grades and
into hoarding school. Then Charity's family
moved to Spain and I didn't see her again
until last New Year's eve.
A party of us had gone to the Drake Hotel
for dinner that night. As usual I was terribly
embarrassed and ashamed of my hair.
Horribly self-conscious I was sitting at the
table, scarcely touching my food, wishing I
were home. It seemed, that everyone had won-
derful, lustrous, curly hair but me and I felt
they were all laughing — or worse, pitying me
behind my back.
My eyes strayed to the dance floor and there
I saw a beautiful girl dancing with Tom
Harvey. Her eye caught mine and to my sur-
prise she smiled and started toward me.
About this girl's face was a halo of golden curls.
I think she had the most beautiful hair I ever saw.
My face must have turned scarlet as I compared
it mentally with my own straggly, ugly mop.
Of course you have guessed her identity —
Charity Winthrop, who once had dull straight
hair like mine.
It had been five long years since I had seen
her. But I simply couldn't wait. I blurted our
— "Charity Winthrop — tell me — what miracle
has happened to your hair'"
She smiled and said mys-
teriously, "Come to my
room and I will tell you the
w hole story."
Charity tells of the
beggar's gift ^^
"Our house in Madrid faced a
little, old plaza where I often
•trolled after my siesta. A MachUss Marcel
(Seventy-seven)
"Miguel, the beggar, always occupied the end bench of
the south end of the plaza. I always dropped a few
centavoa in his hat when I passed and he soon grew to
kin <w me.
"The day before 1 left Madrid I stopped to bid him
goodby and pressed a gold coin in his palm."
"Ilija miu," he said. "You have been verv kind to an
old man. Digamelo (tell me) senorita, what it is your heart
most desires."
"I laughed at the idea, then said jokingly, 'Miguel, my
hair is straight and dull. I would have it lustrous and
curly'."
"Oigame, senorila." he said — "Many years ago a
Castilian prince was wedded to a Moorish beauty. Her
hair was black as a raven's wirg and straight as an arrow.
Like you, this lady wanted los pelos rhos (curly hair).
Her husband offered thousands of pesos to the man who
I fulfill her wish. The prize fell to Pedro the drogturo.
Out of roots and herbs he brewed a potion that converted
the princess' straight, unruly hair into a glorious mass
of ringlet curls.
"Pedro, son of the son of Pedro, has that secret today.
Years ago I did him a great service. 'Here you will find
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I asked Charity's permission to
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Tiger Rose
{Continued from page 33)
For the next few hours Rose's
gaiety was unflagging. At supper she
made them all laugh with her mimi-
cry of the squaw who drank the
violet perfume. Afterward she
danced for them, flinging coquettish
glances at the sullen Devlin over her
shoulder until greed crept to the sur-
face of his muddy eyes and he licked
his thick lips with his tongue. At
Jast the danger for the evening at
least seemed over. Devlin, candle in
hand, creaked up the stairs to bed,
the factor kissed her good night and
followed. She was making the
rounds of the oil lamps, blowing
them out when a heavy hand fell on
her shoulder. Without turning she
knew by the odor of tobacco and
gin that Michael Devlin had re-
turned.
"Came back for a good-night kiss,
girlie," he chuckled, "maybe I'll take
two — or three. I've waited long
enough for them, you tantalizing
little devil !"
She would have struck him across
his leering face but a sudden thought
held her hand. Bruce Norton must
not hear anything. If she could only
cajole this man into forgetting his
drunken love-making just for this
time
She drew away, but his great arms
dragged her back. His hot breath
scorched her cheek. "Guess you're
not grieving over that dude after all !
Like Michael a HI' bit, dont you?
And you're going to like me a whole
lot more before I'm thru!"
Never before in her tempestuous
life had Rose smiled when she
wanted to rage, spoken sweetly when
she wanted to shriek out the pictur-
esque epithets of the settlement.
"Wat they say — 'Get your man' firs',
and then get your woman !" she
urged, with desperate guile. "Pleas'
not tonight ! Mebbe tomorrow I lak'
you HI' bit."
"No you dont!" Devlin grinned,
his embrace stifling her, "tomorrow
may never come." Hot lips sought
her throat. She struggled silently,
futilely, biting back the cry that
surged to her lips. Only the sound
of shuffling feet and panting breasts
broke the silence.
"You beast, let go of her !"
The dropping of the trap-door
brought Devlin around, hand on gun.
Rose, freed from the intolerable em-
brace, fell back against the counter
staring from the furious face of the
man she loved to Devlin's exultant
grin as he leveled his revolver at the
newcomer. "You, eh ! Say, this
means promotion for me all right!
Set a trap to catch a bird and get a
ba'r ! Better not move now, I'd just
love a chance to use this, you damn
murderer !"
"Executioner is a better word,"
Bruce Norton suggested quietly,
"I'll come along with you all right.
Rose, as soon as we're gone, go up
to your room and bolt the door.
Good night, dear !"
"Make it good-bye !" Devlin
grated, and burst into a jangling
laugh. "Give yourself away for a
woman ! That's a hot one "
"Mebbe it's not so dam funny!"
Rose's voice sounded behind him.
"Put your hands up — queek or I
shoot you. Me. I t'ink you forgot
you had two guns ! I got this one
when you try to kees me. Thas
right ! Bruce take his gun away —
lak' so!"
The policeman's revolver in his
hand Bruce came to the side of Tiger
Rose, "My brave little girl! But it's
no good, dear. I've decided to face
the music ! I wouldn't be worthy of
you if I ran away."
Never moving her eyes from the
discomfited Devlin, glowering in the
corner, Rose tried argument and en-
treaty in vain. It was for Cusick,
shambling in at this point, to add
the final plea. "Beat it, boy! D'you
think it's going to make this little
girl any happier to have you in jail?
If you love her, go while you've got
the chance."
Devlin watched the leave-taking
sullenly. To the righteous anger of
the Mounted Police was added the
jealousy of the mere man. This girl
was his — hadn't he pulled her out
of the river? And now he must sit
here helpless and watch her give an-
other man the kisses rightfully his !
As the door closed behind his rival,
he started to his feet with the growl
of a savage beast and had made two
bounds toward the door when the
revolver in Rose's hand spoke
shrewishly. The policeman stopped,
wavered, and with an absurd expres-
sion of amazement sat heavily down
on the floor clutching at his arm.
"She winged me," he muttered in
vast astonishment as Cusick bent over
him examining the wound, "that little
tiger cat winged me. Say, what is ,
women comin' to these days when a
fellow cant beat em up lawful?" he
was quite plaintive about it. "Dont
tell 'em she did it ! Say I shot my-
self accidental," he begged the
doctor abjectly, "I'd never hear the
last of it on the force."
The docfr opened. Bruce Norton
stepped back into the room. To the
(Seventy-eight)
eyes of I iger Rose he had never
looked so tall, so strong, so much a
man like one of the more than-
mortal heroes of her old folk tales,
It was to ( usick and Michael De\ lin
that he sj>oke a-> tho in some
language that she could not under
stand. "God knows I want hei to
be happy, but a fellow cant hide
behind a woman's skirts I I'm not
ashamed of what I did to ( rlenden
ning, but it" 1 sneaked off now and
left her to bear the blame of helping
me I'd hate myself the rest of m)
days. Blow your whistle, Devlin
urn get your promotion after all!
rhe shriek of the whistle tore the
silence to ragged shreds. The re
volver clattered from Rose Bocion's
nerveless fingers a^ -Ik- --auk sobbing
into a chair, crying the first tears
her fierce young eyes had ever shed.
For all time the Hger was gone,
lca\ ing only a woman.
Outside sounded footsteps, voices.
In the moment that was left him
Bruce Norton bent above her. patting
her hair clumsily. "I'm sorry, dear.
but there's some things a man cant
do. Dont grieve so — somehow I've
i notion that when the jury hears
how it was they wont he hard on
pie."
She lifted her head, eyes shining
thru the tears. "Grieve! 1 cry
because 1 am so glad !" Rose an-
swered womanwise. "I cry because
I t'ink you are mos' brave an mos'
best man in all the world!"
( me ki>>, held close against the
strong pounding of his heart, and he
was gone. "Cheer up, Rose," Doctor
Cusick called back from the door-
way, *'if there's any justice in
Canada and any chivalry left in men's
hearts he'll soon come back to you."
Rose smiled. "Yas, me I t'ink he
will soon be back wiz me!" she
answered confidently. "Monsieur. I.e
Bon Dieu ees — what you say? — a
gentleman !"
JOURNEY'S END
By Leslie Nelson Jf.nxincs
I have been long away, now,
But what are foreign lands !
I have come home to stay, now-
Give me your hands!
Ask not, because you love me,
1 1 I have been unwise ;
Silently lean above me
With patient eyes !
What tho we stand or fall, dear,
Go saved or unconfessed
I can forget it all, dear,
Against your breast !
I can forget the danger,
The foes, the fellowships !
I've been too long a ranger
Give me your lips !
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ARMONICAS
When Lubitsch Directs
(Continued from page 39)
] vices. I was so polite and demure
on that occasion that you could have
written books of etiquette just fol-
lowing me around and listening to
what I said. To my intense relief,
the mother of my sheik agreed that
I would pass muster. In fact, she
unbent to the extent of admitting
that I was a sweet girl — or some-
thing like that.
"The next day I was working in
a comedy. The particular scene that
I was adorning had to do with the
supposed raid of a den of vice. Of
course, the sheik's mother had to
come along just as the police patrol
wa^on backed up to the curb and I
was carried out, fighting and kicking,
in the arms of three policemen.
"It was no use trying to tell her
it was just a movie. The next time I
met her, she passed me by in cold
and cutting scorn and the highest
altitude ever attained by any human
nose was hers when next we met."
Marie left the comedies flat to go
to Universal to make a few starring
pictures and she appeared in ""Brass"
and one or two other important pro-
ductions at Warner Brothers before
she got this big chance with Lubitsch.
She says that, when she first saw
the part Lubitsch had planned for
her — a cynical, skittish young Vien-
nese wife — a vamp — she took the
script indignantly to the office of
the Warner Brothers and handed it
back to them. She couldn't see it at
all. Finally, however, the producers
prevailed upon her to try it.
"And then," she said, "I began to
go to school. I never realized what
acting really meant until I began to
hear Mr. Lubitsch's voice coming
to me from behind the camera.
"He deals in subtleties that I never
dreamed of before. His marvelous
technique consists of elements and
effects that I never heard of before.
"At first it was terribly discourag-
ing. He made me do simple scenes
— just coming in and out of rooms
■ — fifteen or twenty times. At first
it seemed as tho there wasn't any
sense to it all. Then it began to
dawn upon me wdiat the art of act-
ing was all about, and it seemed in-
tolerably and impossibly difficult.
Then I began to see as he saw it.
"He is a tremendous and wonder-
ful artist. To act even one scene
under his direction is not only an
education but a revelation."
And, as for Lubitsch, he only says,
"Yes ; she's goot ; she's a goot ac-
tress ; she haf emotion but she got
boomer too.
"Is the picture goot ; veil, I hope.
"But she is goot. Ja. Gewiss."
SOME FOLKS
INDULGE IN HOBBIES
THAT COST MONEY
ButlPreferMy
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We are glad to introduce to our
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whose remarkable courage and
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Money alone did not induce Miss
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In her magazine business, Miss Zimmer
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SPARE TIME OR FULL TIME
Some of our most successful representa-
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= CUT HERE
Subscription Department.
BREWSTER PUBLICATIONS, INC.
175 Du (field Street,
Erooklyn, N. Y.
Flease tell me how to turn my spare time
into money through your plan.
Name
(Eighty)
Foreign Films
1 1 ontinued from p
Aini'i ican style ami to go fai afield
in the (juest ol subjects in order to
conceal the Italian identity of the
production flu- Italian conversion,
however, is as yet half-hearted, and,
as indicated in "Supreme I .ov< ." an
rl at compromise is made, the
producer still adhering hopefull) to
the theoi \ thai an English subjo I
will find a more favorable response
in the \nglo-Saxon market. To
this end, tho the st« iry has a pureh
and characteristically Italian setting,
the leading male role is that of an
Englishman. Sir James, an old Eng
li^li aristocrat, brings his v,>n liar
ford to Italy in the hope that the
climate will cure him of his malady.
Tho adventures thai follow. shift-
ing from England to Italy and from
Italy to England, constitute what the
producers regard as the Anglo-Italian
touch which will assure the film a run
in the British Isles. But the most
attractive parts of the picture are the
scenes taken in Italy, with the Italian
atmosphere and background pre-
eminent, once more proving that
European film talent is at its besl
when it adheres to its own soil and
tradition.
RUSSIA
Contrary to the methods pursued
by the other foreign producers, the
Russians have adhered pretty strict-
ly to native subjects until now. with
excellent results. Tf the Russian films
are today the most noteworthy in
Europe, it is chiefly because they
have not gone far afield in quest of
material but have found it on their
own soil or in their own literary tra-
dition. Having made their start in
this way, they are perhaps well quali-
fied to borrow from the best tradition
of other countries. A divergence
from their loyalty to Slavic subjects
is marked by the film, *'Kcan." a
dramatization of the life of the great
Shakespearean actor. Kean's amours
were numerous and varied, the in-
evitahle accompaniment of the idol-
atry which he enjoyed during his
supremacy, but it is part of the irony
of his life that his doom should have
come thru the one innocent passion
of his career. This ironic element is
dramatically brought out in the Rus-
sian production.
In "The Song of Love Trium-
phant," based on a story by Tur-
genef, tho the action takes place in
Italy during the period of the
Renaissance, the spirit of the narra-
tive remains Slavic in its essence. The
settings of the film are imposing, and
the beauty of Mme. Kovanko, in the
role of Valeria, contributes to its
success.
(Eighty-one)
Ol ) ■""? \l 1 ).!.;• Si..ret
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The Movie Encyclopaedia
(Continued from page 70)
Evening Mail. — Constance Talmadge in
"The Dangerous Maid." Conrad Nagel
and Wyndham Standing are playing in
Alma Rubens' "Blood and Gold." Baby
Peggy in "Captain January."
Georgette. — Ah, but I do like it. Lon
Chaney is an American. Richard Dix is
twenty-eight. Yes, they do say he is en-
gaged to Lois Wilson. Holmes E. Herbert
is playing in "The Enchanted Cottage."
Your English is splendid, and I hope to
hear from you again.
Cy.— Well, as Carlyle says : "Make
yourself an honest man, and then you may
be sure that there is one rascal less in the
world." Ralph Graves is twenty-six. and
Antonio Moreno is married to Mrs. Daisy
Danzinger.
G. M. L. — So you have been reading the
Classic ever since it began. That's a long
time. Glad to hear about "Robin Hood"
in London. I hope you write to me soon
again.
Australian Admirer. — The great diffi-
culty about advice is the preponderance
of quantity over quality. Xo, Jacqueline
Logan is not married. She played in
"The Light that Failed." Viola Dana's
"Angel Face Molly" will be released as
"The Good Bad Girl."
Rodolph Valentino Fan. — Most of the
players you mention are with Famous
Players, 1520 Vine Street, Los Angeles,
California.
Mary E. — You've got to be stronger
than that. A woman's hopes are woven
of sunbeams; a shadow annihilates them.
Be brave. Bessie Barriscale is not play-
ing now.
Stud Farmer. — That's some letter of
yours. You got your wish — yes? Cant
very well give you the cast for "The Four
Horsemen," but Rodolph Valentino was
Julio, Alice Terry was Marguerite and
Brinsley Shaw was Celendonio.
Manuel. — I'm sorry, but I dont know
the picture you mention.
Ivy M. W. — All I know about canary
birds is that a long body and thick, smooth
plumage are marks of a good canary.
Males only sing. King Vidor is directing
Laurette Taylor in "Happiness" at the
Metro Studios. How did you know green
ink was my favorite. Pearl White is
playing in "Terror."
Patte. — Never respect men merely for
their riches ; but rather for their philan-
thropy ; we do not value the sun for its
height, but for its use. The only place
I know of where you can get Ramon
Novarro is at the Metro Studios. Why
not try it
Little Moonmoth. — Eugene O'Brien is
playing with Norma Talmadge in
"Secrets." This is a story of crinoline
days in America and England.
Ivan. — Thrnks for the charming letter.
You bet I am still living in my hall-room,
and right now it is about ten degrees be-
low zero. Yes, I have always admired
George Arliss. Address the Fairbanks at
Hollywood, California.
Glenvina. — Well, the first step toward
useful knowledge is to be able to detect
falsehood. Xo, I never lie, it isn't because
I cannot, tho. Myrtle Stedman and not
Kathlyn Williams in "The Famous Mrs.
Fair." Cleo Madison was the wife in
"The Dangerous Age." Write me again.
Bric-a-brac. — Censure is the tax which
a man pays to the public for being em-
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The Treasure Chest Department
Motion Picture Magazine
175 Duffield Street,
Erooklyn, N. Y.
(Eighty-two-)
hunt Lloyd Hughes ami Be be Daniels
m ' I he I lei itage ol the I >esei t " So you
think I should have a -t< >• -I to -n on in
my pictui 1 want to grow tall.
\sk II \n, and the
t;im women is t imagine that, t" acquire
distinction they must imitate the manners
icn. vi i s, 1- ilu in Mills in "I lis I
dren's Children." \ilcen Pringle i
daughter-in-law of Sir. John Pringle,
. rnoi -gem She
up social fame and a great fortune
ppcar in pictures. So they say.
Is that all that is won .
whether 1 am a man or woman. Got
guessing. Well, cheer up, I'm not
Eugene < I'Brien is not
ied.
Brown Eyes I never knew so many
brown eyes Buddy Messenger is four-
teen, and he has brown eyes ami hair.
"Stephen Steps (hit" was Douglas Fair-
banks, Jr.'s tirst picture.
I! \ Ixforp. — One is alone in a
.1 when one suffers or when one
loves. I understand perfectly. Vndree
Lafayette lias returned to I'.wis where she
will make a picture for American
ducers. She expects to return in about
three months. Write me again.
Katharine Yes, I believe in reading
the good hooks recognized old masters
re reading so much fiction. What is
a great love <>i books? It is something
like a personal introduction to the great
and good men of all past times. Yes,
Bert Lytell is abroad now. Baby I'
with Principal Pictures, Los Angeles,
California.
Anxious. — Glad to see yourself here,
are you? Lois Wilson and I.ila Lee are
not sisters. Douglas Fairbanks was mar-
ried to Beth Sully. He and Mary Pickford
have been married since March 28, 1°20.
OU would like to see a picture of
Milton Sills and one >^i Gloria Swanson
On the eo\ er.
Micky. — Your letter reminds me of
what Oliver Wendell Holmes said: "1
should like to see any kind of a man dis-
tinguishable from a gorilla, that some
i and even pretty woman could not
shape a husband out of." Anna Q. Nilsson.
in "Flowing Gold." Pearl White is play-
ing in Paris.
Golda Baker. — Yes, it is the lack of
moral balance that makes genius akin to
madness. J. Warren Kerrigan is thirty-
four, and be has never been married.
He is with Vitagraph now. (dad to hear
from you. Do write to me again.
Irexe F.- — Richard Barthelmess is five
feet seven, and Conrad N'agel is six feet.
Wildflower. — That was Forrest Stan-
lev in "Bavu." Xaomi Childers is play-
ing in "Restless Wives." Gloria Swanson
in "The Humming Bird." King II.-il
takes credit for discovering Mary Philbin
when she made her first hit in "Human
Hearts." She is playing in "The
Inheritors."
Swf.ft Blue Eyes. — How are you to-
day5 Cullen Landis in "Pioneer Trails."
Glenn Hunter is twenty-four. Anita
Stewart and her brother, George Stewart,
are in vaudeville.
Cucu Blue Eyes. — As a rule, we suffer
more than we inflict. Yes, Pedro de Cor-
doba is to play in "I Will Pay."
Florexce R. — Another foolish child.
All the way from Australia to get into
the movies. Well I hope you have better
luck with your music. I have never beard
ot that picture. Can you tell me more
about it?
ould You Thin
that I Ever W<
/>'.V Jl -li A I'.A, |
! >n m.im i. Pi i
III V 1 > jUSt about .ill thr ,lvoirdlif<ois ]
could ccj i v around w hen 1 fit i heard
ot getting thin to music. 1 un only 5
ft and 5 in. in height and not ot large ti.iinr,
and I'M lbs. made me positively eon picuoui
u j iu can well believe, li was beginning to
tell on my arches j I had difficulty in walking
■ ini . 1 1 incing became out of the ques-
tion, and I had become ■ regular stay-at-home
when a friend prevailed OU me l<> try the
mueh-t.ilked-of reducing records.
"The hi t r ion with this method was a
complete Burprise. I had expected it w
be something of ■ bore the things I had
tried ID the past had all proved BO. But the
movements that first reducing record con-
tained, the novel commands and counts, and
the sparkling musical accompaniment made
it extremely interesting. I used it for over a
week for the sheer fun of doing it. I fe't
splendid after each d iv's 'lesson.' Even then
I scarcely took the idea seriously. Surely, this
new form of play could not be affecting my
huge superfluity of flesh; it must have been
ten or twelve days later that I weighed myself.
"/ had lost eight pounds'.
"No one had to urge me after that! I se-
cured all five of the records and settled down
in earnest to reduce. A week later the same
scale said 174 lbs. Another week only showed
a six pound loss; but the week following I
had taken off nine more pounds.
"As I progressed in the lessons I found
them growing more and more interesting,
and each new and unique movement began
improving my proportions in new places.
The over-fleshiness at my neck was a condi-
tion I never dreamed could be affected by
these methods, but it was ; even the roll of
fat that had foreshadowed a double-chin dis-
appeared in time.
"In six weeks I was dancing, golfing and
'going* as of yore. I got another saddle
horse. I started wearing clothes which did
not have to sacrifice all style in an effort to
conceal. And it is quite needless to say I
was delighted and elated. At the end of nine
weeks I weighed exactly 138 lbs.— a reduc-
tion of fifty-three pounds. I submit
my experience in gratitude for what
Wallace's wonderful records have
done for me. I am humbled by the
recollection of how I once fairly
scoffed at the enthusiasm of others in
what I deemed at the time a mere fad.
I shudder to think that I might have re-
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woman who has been over-whelminglv fleshlv
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feelings mean to me. As for those who need
reduce but a few pounds to make their
figures what they would like them to be,
it is pitiful to think that they do not
know this easy way — or perhaps do not be-
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What more can be said of reducing ? Mrs.
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I. '. • ) I U. I. I [[ ■ ;
.'_)
to
ighed 200 Lbs?
Photo ^
by Drury
WALLACE
Dept. J2, 632 S. Wabash Ave., Chicago
Please send me FREE and POST-
PAID for a week's free trial the Original
Wallace Reducing Record.
Name .
Address .
(Eighty-three)
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The Mutual Admiration Society
(Continued from page 19)
Eternal Three" for two or three
years before he finally worked out
the details to the point where he was
ready to begin shooting."
Now, by rights. Mickie should be
interviewed about Blanche. We know
what Blanche has to say about
Hubby. What has Mickie' to say
about Wifey?
Well, just try to interview Mickie!
Just try it; that's all. You might as
well have tried to interview the
eclipse. If you ask Mickie about
the national debt, it makes him think
of a story about a rattlesnake which
tried to swallow a gopher. And then
he sees an army aviator he used to
know on the other side of the cafe
and- that's that.
But one day Mickie and T were
sitting in a darkened projecting-room
looking at an old Biograph picture in
which Blanche and Mickie were both
acting. Mary I 'ickford and Dorothy
Gish and Henry Walthall and a lot
more were also in it. Blanche was
then a rather sallow girl with
enormous masses of blonde hair, a
funny-looking long dress hanging
around her heels.
Suddenly out of the darkness I
heard Mickie mutter half to himself
and half to me.
"By God, Blanche just had it —
even then. In spite of all that crude
stuff, she was wonderful. She's got
the stuff you cant learn. You just
gotta have it. And she's got it."
W. Somerset Maugham Is With
Us Again
(Continued from page 44)
some one comes along and uses it be-
fore I have a chance to.
"After I have finished my novel I
expect to get to work on another
play. You know, I envy people who
haven't an idea in their heads. I
have this mass of mental notes and
no matter what I do, I cant escape
from them. I should like to have
about six months' holiday, for I am
very tired, but I am simply forced to
go on writing."
Maugham has stopped giving
"messages" in his late work. He
declares it is like butting a stone wall
to try to put over the truth. In "The
Circle," as brilliant an exposition of
human kind as anyone would ever
hope to see, he discovered that the
message shocked everyone who saw
it. There was truth in it — there was
an inevitable futility, and a terrifying
knowledge of what humanity is
really like — but humanity doesn't
care to have the mirror held up too
closely to nature.
(Eighty-four)
The Powers Behind the Screen
ntinucd from pag • 24)
Imi his activities indicate as w
rounded and balanced a personality
[ukor's. \\ here I .ichtman is pre
eminent!) the salesman; Schulberg a
pickei ; Arthur Friend a law \ er and
mizer ; < liarles II. I )uell an out
sider with Fifth Avenue backing, and
Others, nun with eithei a present that
has been defined or only a past,
Shcehan has everything and a future
behind the screen distinctly worth
guessing. Like Hearst, he reaches
on!) inward maximum.
In Mr 1 fearst, moreover, in so
far as it isn't Zukor's, this present
in motion pictures, and the more
immediate future, may be entirely
opined.
V> one eKe has quite his excep-
tional sense of what the American
public wants in the way of entertain-
ment. That has been amply demon-
strated by the unparalleled success
of las newspapers. He has, too, a
mind that sees the every-sided possi-
bility of any proposition. Interested
in polities as he is, he has not read
Roman history in vain nor forgotten
that a fundamental precept of all
polity is to keep the people amused.
The person who does this most
widely and effectively, other things
being equal, is a country's most
popular person. This was true of
Caesar. It was true of Theodore
Roosevelt. It may come to he true
of Hearst. If it does, Mr. Hearst
will have reached out his hands for
the greatest political opportunity
modern life presents.
Bernard Shaw foresaw it when he
said, "give me the motion picture and
I'll give you a revolution." Those
politicians who gave Will H. Hays
their blessing when he left political
life — they foresaw it. but their hope,
of course, was that the former l'ost-
master-General would give us evolu-
tion, not revolution. Others have
also foreseen it, particularly those
who describe Chaplin, Fairbanks and
Mary Pickford as the greatest am-
bassadors this country has ever had.
There is the crux of the opportu-
nity, the fact that pictures are a uni-
versal language, intelligible in any
tongue, clear to any understanding
all the wide world over. Hence it
comes that he who sees in them a
world force, who masters them suffi-
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the world instead of a single country,
has in his hands a weapon for good
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Each and all. meanwhile, are like
the particles in a kaleidoscope, tum-
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vision of a more and more marvel-
ous future.
DMWYOURWAY
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Address
Music Hath Charms—
(Continued from page 16)
Marshall Neilan plays both the
piano and pipe organ and as he
shouts "Shoot" to his cameraman, he
calls the name of the selection he
wants played to his orchestra.
It would seem, "Once a Russian
always a Russian" so far as music is
concerned, for Theodore KoslofF and
Madame Nazimova both demand
those glorious melodies of their
native country, the works of
Tschaikowsky, his "Chanson Triste,"
"Meditation." Rubinstein— his "Bar-
carole," "Melody in F" — for their big
moments.
Tho Mary Pick ford loves music
and insists on real artists for her
orchestra, she does not need this aid
to stimulate her emotions.
"I rather doubt the wisdom of too
much music on the set, for it causes a
false estimate of our own work,"
Miss Pickford pondered the question,
wrinkling her pretty forehead.
"While we were on location mak-
ing 'Tess.' we discovered that one of
the truck drivers played a mouth
organ. He had a list of favorite
tunes like 'Shall We Gather at the
River,' 'Buck and Wing,' and
'Swanee River,' and these were in-
spiration for most of my scenes."
Mary especially likes Charles
Wakefield Cadman's "Land of the
Sky-Blue Water," while the minor
strains of Massenet's "Elegie" make
a profound appeal to her susceptible
little heart and many of those wist-
ful, poignant moments that live in
our memories, were enacted to these
melodies.
Warner Baxter makes the girl's
hearts go pit-a-pat to operatic selec-
tions. He once shone in musical
comedy, and let the orchestra burst
forth with "Kiss Me Again," or "Oh
Promise Me." and there's no holding
Warner. Cullen Landis says he's
afraid his emotions are jazzy, for it
takes such classics as "Livery Stable
Blues," or "Three O'Clock in the
Morning" to make him emote.
Milton Sills takes his arts sepa-
rately. He is not moved by music
during his work and if he could have
his way there would be none. This
may be the result of his discriminat-
ing taste, for unless the music exactly
supplements his mental balance he
finds it disturbing rather than help-
ful. Lewis Stone confesses the chief
good it does for him is to put a spark
of life into the barnlike skating-rink
atmosphere of the large studios
"We respond to music just as a col-
umn of soldiers quicken their steps to
the cheer of the drum corp," he said.
Gloria Swanson loves luring
waltzes, and "Visions of Salome"
(Eighty-six)
thrill hci ; Anita Stewart asks for
Kreisler's "< >ld Refrain" awl the
Meditation from " Thais," and the im
mortal songs of Schumann,
melodies and I .iszt's "I .iebestraum,"
bn athe romance t<> I .eati •■
pl.n ei has .1 favoi ite ea< h
Kinds to the wave of tonal lan-
:<• of the key hoard Bill what-
it is, it must always build with
the action to the climax and wholl)
i ide with the drama there must
o oh\ ions break in the emotional
urge of the actor.
The extent to which music has
become an important adjunct to the
motion-picture industry is shown by
the elaborate programs that accom-
pany cur photoplays when exhibited
on the serein. 'There must be music
elp carry the theme of the st« irj
and the spirit of the dramatic efforts
of the players to the spectators. 'This
has lead to a fascinating new art of
welding together illuminating ex-
ts from every source into mag-
nificent interpretative scores
But, as Kipling says, That is an-
other story !
Dixit
i ( ontinued from page 64)
the Bunch sang "Shine ( >n. < ) Sil-
very Moon" in close harmony. And
because the public knows Dix and
likes him, he has had no vacations
between pictures in the three years
he has been on the screen, and has
just signed a five-year contract with
Lasky.
In one respect at least Richard Dix
is the most remarkable person in
Hollywood. His eyesight is ap-
parently good, he is twenty-eight
years old and yet. in this town of
lovely, lovable and often beloved
ladies he is a bachelor. He has never
been married, almost married or un-
married.
The plain little stenographer with
the shell spectacles had gazed wist-
fully after him when we passed her
table; the starched waitress behind
the counter had been recklessly lavish
with the cream in his coffee; the
famous scenario lady in the imported
gown had patted his shoulder when
she went by : but still he has managed
to remain Hollywood's only bachelor.
"How do you t^et away with it ?"
we asked — for interviewers rush in
where theatrical angels fear to tread.
Dix seemed honestly puzzled.
"\\ hat chance does a movie star have
to get acquainted with girls?" he de-
manded pathetically. "I dont sup-
pose I meet half a dozen people a
year outside the studio. You cant
get away from your screen per-
sonality in this game. You're always
on exhibition and that makes your
(Eighty-seven)
How YOU Can Write
Stories and Photoplays
By ELINOR GLYN
.\ik/iiii (./ "Ilu.r Wetki," "Beyond tlu- Rodu/*
•' I he (,i<ut Moment," it. . / (c.
"CV)R years iho mistaken idea pre-
-1-vailed thai writ ing was a "gift "
miraculously placed in the hands of
the chosen lew. People said you had
to be an Emotional Genius with
long hair and strange ways. Many
vowed it was no use to try unless
you'd been touched by the Magic
Wand of the Miise. They discour-
aged and often scoffed at attempts
o\' ambitious people to express them-
selves.
These mistaken
ideas have recently
been proved to be
"bunk." People
know better now.
The entire world is
now learning the
TRUTH about
writing. People
everywhere are find-
ing out that writers
are no different from
the rest of the world.
They have nothing
"up their sleeve";
no mysterious magic
to make them suc-
cessful. They are
plain, ordinary peo-
ple. They have simply learned the
principles of writing and have in-
telligently applied them.
Of course, we still believe in genius, and
not everyone can be a Shakespeare or a
Milton. But the people who are turning
out the thousands and thousands of stories
and photoplays of to- day for which millions
of dollars are being paid ARE NOT
GENIUSES.
You can accept my advice because mil-
lions of copies of my stories have been sold
in Europe and America. My book, "Three
Weeks," has been read throughout the
ci vilized world and translated intoeveryfor-
eignlanguage.exceptSpanish, and thousands
of copies are still sold every year. My stories,
novels, and articles have appeared in the
foremost European and American maga-
zines. For Famous Players-Lasky Corpor-
ation, greatest motion picture producers in
the world, I have written and personally
supervised such photoplays as, "The Great
Moment," starring Gloria Swanson, and
"Beyond the Rocks," starring Miss Swan-
son and featuring Rodolph Valentino. I
have received thousands and thousands of
dollars in royalties. I do not say this to
boast, but merely to prove that you can be
successful without being a genius.
Many people think they can't write be-
cause they lack "imagination" or the
ability to construct out-of-the-ordinary
plots. Nothing could be further from the
truth. The really successful authors — those
who make fortunes with their pens — are those who
write in a simple manner about plain, ordinary
Elinor
ng* with whlrh pvfry-
line is (umiliur. This in the reul Merit of success —
a merit wit lun the reach ol all, fur everyone U
familial with $omc kind of lid .
ry heart has it* story. Kvery life haa export-
ing on. There are junt an many
of human interest right in ynur own vicinity ,
fur which tome eihtur will pay v,
as tin re ure in Greenwich Village or the South Sea
And editors will welcome a story or pholo-
Iilay from you ju.it as quickly an from any well-
tnown writer if ynur story is good enough. They
are eager and anxious for the work of new v. I
with all their blithe, vivacious, youthful ideas.
They will pay you well for your ideas, too. Big
money is paid for stories and scenarios to-day — a
good deal bigger money than is paid in salar .
The man who clerked in a store last year is making
more money this year with his
M n t han he would have made
in the store in a life-time. The
young woman who earned
eighteen dollars a week last
summer at stenography just
sold a photoplay Tor $500.00.
The man who wrote the serial
story now appearing in one of
America's leading magazines
hadn't thought ofwriting un-
til about three years ago — he
did not even know that he
could. Now his name appears
almost every month in the
best magazines. You don't
know whether you can write or
notuntilyoutry.
I believe there are thou-
| sands of people who can write
much betterstories and plays
than many we now read in
magazines and see on the
screen. I believe thousands of
people can make money in
this absorbing profession and
at the same time greatly im-
prove present-day fiction with
their fresh, true-to-life ideas.
I believe the motion picture
business especially needs new
writers with new angles. I
Glyn believe this so firmly that
I have decided to give some
simple instructions which may be the means of
bringing success to many who have not as yet put
pen to paper. I am going to show YOU how easy
it is when you know how!
Just fill out the coupon below. Mail it to my
publishers. The Authors' Press, Auburn, N. Y.
They will send you, ABSOLUTELY FREE, a
handsome little book called " The Short-Cut to Suc-
cessful Writing." This book was written to help all
aspiring people who want to become writers, who
want to improve their condition, who want to make
money in their spare time. Within its pages am
many surprises for doubting beginners; it is crowded
with things that gratify your expectations — good
news that is dear to the heart of all those aspiring
to write; illustrations that enthuse, stories of suc-
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things you've long wanted to know.
"The Short-Cut to Successful Writing" tells how
many suddenly realize they can write after years of
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This book and all its secrets are YOURS. You
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You need not hesitate for ANY reason. The book
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This little act may be the turning point of your
whole career. Who knows?
Tun Authors' Press. Dcpt. 88, Auburn, X. Y.
Send me ABSOLUTELT FREE ■•Th<- sw
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Studio 1512, 1105 Lawrence Ave., Chicago
contacts with people unnatural. They
look at you as a curiosity instead of
a regular human being. There's one
place tho, where I can go and
not be Richard Dix, the film actor,
and that's Minneapolis where I was
brought up!" he chuckled reminis-
cently, "nobody is a celebrity in his
home town. Too many old ladies to
remember about the times he swiped
apples off the fruit-stand by the fire-
house and other youthful sins! I
played in stock three years in
Minneapolis but all the time I was
simply 'that Dix boy.' That's why
youngsters leave home I expect — to
find people who will take them as
seriously as they take themselves.
Anyhow that was the way with me."
Acting, it seems, didn't run in the
Dix family. His father, in particular,
regarded Richard's stage symptoms
when they began to develop in high
school as one might stuttering or
kleptomania or any other misfortune
that afflicts the best of families.
Pish ! The boy was to be a doctor —
let's hear no more of this play-acting
nonsense !
But a surgeon who faints at the
sight of blood is as badly off as a
burglar with hay fever. The Uni-
versity of Minnesota came next —
till Richard found that studying in-
terfered with his regular college
work which was the dramatic club.
And so at last came the local stock,
then leading man with the Morosco
Company in Los Angeles and then
the screen.
It seemed, we suggested, almost a
pity to be a success at twenty-eight.
What more was there to look ahead
to? Where, in other words, did he
go from here?
Dix's face took on the grim lines
it wears when he is doing a he-man
role on the screen. They make him
look ten years older. "Some day I
want to be at the other end of the
megaphone." There were no fist-
clenching heroics about the way Tie
said it, but you caught his earnest-
ness. "You're darn right ! The way
things are done on the screen there's
not much chance to develop, but the
director can do anything. I want to
try the new technique, the 'Woman
of Paris' sort of thing. There's a
great play for you ! Screen people
who act like human beings. . . ."
Human — that is a word Dix uses
often, a word that expresses his own
personality as no other. He has al-
ways been cast in "good" roles. In
"The Ten Commandments," his most
important picture, he is the one of
the two brothers who keeps 'em, not
the one who breaks 'em. But in spite
of the handicap of some impossibly
virtuous parts he manages to make
real characters out of them.
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(I onlimted from page ■
I [olubar, the direi i I "I [ell Moi
gan's ( hi I." " I li .11 is of I lumanit) ."
" I he Righl ii» I lappiness," " Broken
t hains," "I l ui t i< ane's • ial," "Men,
Women and Mai t iage," "Slandei the
Woman," and many othei greal suc-
cesses, llf was in Tennessee on
location shooting some scenes of a
new picture (•» be made from the
"Bishop of • ottontown" when he
was taken ill. He came back to
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was performed, lit- <li<l nol recover
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bar was a San Francisco boy, born
in 1890. He had been a stage actor
before coming to pictures.
* * *
Two well-known figures have quit
pictures. Orville Caldwell has gone
hack to New York to play opposite
Lady Diana Manners in "The Mir-
acle," and Guy Bates Tost has
abandoned the screen in disgust and
has returned to the stage. Mr. Post
came to the screen after a notable
stage career: hut had had luck with
his pictures, among which were
"Omaf, the Tent Maker" and "The
Masqucrader. "
* * *
A lawsuit that has been going on
for over a year between George
Walsh and Tom Mix has been settled
at last. Walsh left a favorite horse
named "Joe" with Mix when he went
East about two years ago. When
he came back, the sad news was
broken to him that Joe had passed
to horse heaven. What was his
amazement one day to sir Mix riding
blithely by on a nag that seemed to
him to be his beloved steed. High
and heavy words led to lawsuits and
then to more lawsuits. It was finally
demonstrated to the satisfaction of
the court and even to the reluctant
if mourning Mr. Walsh that his horse
had been killed over a year ago in a
fall over a cliff at Big Bear Lake.
The horse Mix was riding was an-
other one of similar appearance. And
so the world goes on once more,
breathing more easily.
Mrs. Harold Lloyd, who was
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She came across a dusty overcoat in
the pockets of which she found her
marriage license, a pair of her gloves,
a crumpled-up pink rose and a roll
m as
as Jim!'
I hey m.i'le him msnager to-day, at a
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of bills with a rubber band around
them. With many a sigh and a
housewifely cluck, she sorted every-
thing out and sent the coat to the
cleaners. When Harold came home,
there was dismay and a bleeding
heart. It seems that he had worn
the overcoat to his wedding and had
reverently put it away with all these
souvenirs abroad. He had intended
to take it out some day and show his
great-grandchildren the wedding li-
cense, the little rumpled gloves, the
pink rose and even the bank-notes.
Whereupon there was a wild ride by
a bride to the cleaners. The coat
was recovered in time with its wed-
ding dust still on, rice and every-
thing; and the things were hastily
and ruefully shoved back into the
pockets and the romance was saved.
Iris In
(Continued from page 54)
Chaplin has produced a picture that
merits all the adjectives ever brought
out on parade by a movie press-agent.
It is remarkable in restraint, in mo-
tivity, in the excellence of the titling
and in the perfection of detail.
Adolphe Menjou, one of the screen's
few actors, has been playing second-
ary role too long to stars whose
effulgence he patently outshone. It
is good to see Menjou obtain recogni-
tion at last. It is better yet for it to
happen in so notable a picture as "A
Woman of Paris."
We are sending no flowers to Mr.
Chaplin on the story. Our orchids
are all for the directing. If it is to
carp at all, we regret the scene of the
anguished lover falling into the foun-
tain. It reminded us strongly of a
similar bygone fountain into which
Mr. Chaplin himself fell. Charlie,
however, rose triumphantly to brush
his gleaming teeth with the dank stalk
of a rhubarb-like water plant growing
convenientlv from the center.
Still speaking of restraint, Edward
Horton, in "To the Ladies," justifies
all he inspired in "Ruggles of Red
Gap." He is establishing himself as
a refreshing contrast to a roster of
stuffed shirts. We await the third evi-
dence of his ability with trepidation.
Babby Peggy, a recent visitor to
New York City, did what was ex-
pected of her nobly.
"Your skyline is remarkable," she
said, "and your women (kissing
two dainty fingers) are positively
beautiful."
IRIS OUT
(Ninety)
A Thrill Every Minute!
That's just about the average in the March instalment of Thistledown,
ami it you never understood the psychology of Flapperdom, you will
when you've read it a psychology in striking contrasl to thai ol Hi
Daggett's impossible sister Julia.
It was liis look, even
more than his words,
that gave the girl, just
then, the deepesl thrill
th.it Hi Daggett had e> et
given her.
And her eyes were so
bright and candid and
sweet .1- to cover her
secret shame, as she said :
"You want so much to
help me? Oh, you're
good I"
BUT good heavens. Dolly has gone — van-
ished— a note pinned to a cushion tells
him so. In a flash he is out of the house, into
his devil car and stepping on the gas. He is
off in a cloud of dust, to the ends of the earth,
if need be, to find her — will he?
You will be lei in on
this thrilling event,
and several more in the
March Instalment of
a
Thistledown"
By Dana Gatlin
in the
t is the best storj of
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t entertains.
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t will set you think-
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March Motion Picture Magazine
On Any News-stand February First
(Ninety-one)
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(Continued from page 48)
side-line to establishing a repertory
of Shakespearean and modern
dramas in the National Theater. And
he revives it so well that it proves to
be One of those entertainments which
Proadwayites quaintly call "Wows."
Audiences cheer after the fourth act,
and the house manager has to sign
a box-office statement for seventeen
or eighteen thousand dollars each
week.
This is, by the way, a poetic
drama, and the star fails to marry
the leading lady.
Now why the success?
Whenever "Cyrano" has been suc-
cessfully produced, the credit has
been divided between the playwright
and the actor. It is so in the pres-
ent case.
In spite of a certain Chicago
scribbler, Rostand did an original
and striking piece of work when he
wrote "Cyrano." The Chicago gen-
tleman, whose name I forgot but who
might have been a butcher, wrote a
play called "The Merchant Prince of
Cornville," and he succeeded in get-
ting a United States court to declare
that, because he had written a play,
"The Merchant Prince of Cornville,"
he and not Rostand was the author
of "Cyrano de Bergerac." The mat-
ter being properly adjusted, we of
a new generation discover that the
Frenchman made an exciting, grace-
ful, and truly heroic drama out of an
eccentric duelist, playwright, and
philosopher who lived in Paris three
centuries ago.
Rostand used a remarkable num-
ber of facts out of this Cyrano's life
without in the least preventing his
play from being utterly incredible
and tearfully convincing. We accept
with cheerful alacrity the yarn that
the hideous Cyrano succeeded in
making love to a woman who, stand-
ing in a balcony above him, imagined
his voice was the voice of her hand-
some but nitwit sweetheart. The
fact that Cyrano loved the woman
more than did the nitwit, and that
the woman really loved the soul in
his words — this pathetic fact makes
us swallow the most outrageous im-
possibility in all modern drama. It
is also the secret of why this is a
most satisfying tragedy. Not the
whole secret, of course, for Rostand
writes with dramatic fervor and
poetic beauty.
The rest of the credit is Hamp-
den's, but it must not all go to the
actor. Some is reserved for the
part of Hampden which is director
and manager. Hampden turned
aside from the five dull translations
that ornament my shelves, and hired
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ilut'iit and beautiful and alw
dramatic. N> ou wi ul« I hardly know
i1 was blank verse ! ( >n t< tp of that,
I [ampden lias bn >ii^lit to ome
tv and lights bj i llaude
P.ragdon and Munroe I ' \ eai . and he
ha> drilled a rather ordinary V ■
actors o skilfully that they play the
piece like a whirlw ind. The di
tion is the besl thai any romantic
drama has had in years. It culmi-
nates the only effective stage battle
thai I have ever seen,
Hampden's own work as actor is
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I [ampden's.
And yet — what about Man-field?
It is my keenest regret in the theater
that when he was playing his last sea-
sons On this earth my dramatic taste
ran to "Babes in Toyland," "Mrs.
Leffingwell's Boots," and "The Heir
to the Hoorah." Particularly, as in
the past half year Broadway has
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S< 'Hie of Mansfield's notable vehicles —
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and now "Cyrano de Bergerac." The
success that has met these plays may
be a testimony to the playwrights or
their newest interpreters. But it
stems to me that it may have an in-
teresting bearing on a change in pub-
lic taste. Mansfield was never an
enthusiast for realistic drama. He
acted practically none of it. The
poetic, the romantic, the demoniac.
the heroic — all these types interested
him, and these only. It is a hearten-
ing thing to see them interesting the
American public once more.
DEFIANCE
By Joy O'Haba
Oh, pitying judges, your pity is wasted
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The Immortal Clown
(Continued from page 55)
away, he becomes grim, determined,
an avenging angel bent on punish-
ment. For infidelity, a life ! That is
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One would scarcely recognize in
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portraying the emotions of this
study.
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and finally the grief. Without words,
soundless, by facial expression and
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study of human emotion that is little
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every gesture of his was weighed in
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"Larry Semon has proved himself
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LIVE FULL TODAY
By Louise Liebhardt
And, if tomorrow comes
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And sorrow still the song
That now swells goldenly
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N. V. INSTITUTE of PHOTOGRAPHY
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The Movie of the Month
{Continued from fage 49)
for her sailor man, A pathetic, old
figure tins skipper of a coal barge.
Ami the drama, soaring with vital
humanities and with :i spiritual tug,
embraces one with an emotional
sweep as 1 1 1 < - girl joins him a girl
lUiiaut of men (she lias been their
plaything in an inland town i
succumbing to the call of love and
youth. The other vital figure is 1 1 1 1-
rescued sailor-man — a swaggering,
blustering, coal-stoker sure of him-
self and of his importance to the
world. He listens to no entreaties
from the Old Swede and his daughter.
It mighl be called a quadrangle -
a conflict between a hag of the water-
front saloon to hold the skipper's
love— and the latter's futile fight
against the overpowering forces of
youthful hearts. And his angry
remonstrations against the sea make
him a pitiful figure indeed. There
is much hard drinking. Why not?
Rough sailor- folk must have their
grog. But beneath these raw ex-
ternals (which expose the girl's life
of shame— a condition brought about
thru a parent's neglect and the lust
of men, and the conflicts between
father, lover and daughter) is a big,
throbbing idea — pounding relentless-
ly on a major theme, that of a par-
ent's determination to compensate for
his neglect — and a spirited girl's con-
flict with herself. And the sea calls
them to its bosom. It is the strong-
est force of all.
Blanche Sweet's rendition of the
title role is marvelously human.
The emotions which race across
her face indicate that she lived the
part thoroly. She plays with a re-
markable depth of sympathy and un-
derstanding. George Marion in his
original role of the old Swede pro-
vides picturesque characterization.
He is the perfect embodiment of the
superstitious salt as colored by the
imagination. William Russell, playing
the sailor-man. abandons himself
completely to the task of revealing
the influence of the sea in making its
playboys swaggering, boastful ad-
venturers, while Eugenie Besserer
acts the water-front hag in a manner
recognizably real.
''Anna Christie"? Tt surely be-
longs on the heights. It moves with
powerful strokes — and embraces re-
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able spiritual comfort. So devasta-
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is its clash of emotions — that we do
not miss the spoken lines at all. It
is as if we could hear them.
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Name
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{Ninety-five)
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E. RICHWINE CO., Dept. 929
^ 19 W. Jsckion Blvd. Chicago. Illinois
Ihe Celluloid Critic
{Continued from page 51)
study. The player who seems to be
mostly in character is Richard Ben-
nett. The Italian extras are compe-
tently handled in the Fascisti scenes.
The camera is unkind, however, in
bringing forth any suggestion of
reality. The majority of these
extras appear to be having great fun
out of it. The atmosphere, on the
other hand, is authentic and gives the
picture its sole redeeming quality.
SEVERAL hundred westerns
have been ground thru the
movie mill since Owen Wister
wrote "The Virginian," a story
which has served as one of the
models for cow country pictures, but
none has contained more vitality of
plot and characterization than this
new version by Preferred. Virile all
of us are familiar with the bashful
cowboy from Virginia who took ro-
mance so easily and gracefully — we
stay to follow his exploits in love.
A sympathetic character — this Vir-
ginian, played in an appropriate
lackadaisical manner by Kenneth
Harlan. He interests us because he
is not ever performing the conven-
tional sacrifices of the orthodox
movie cowboy.
The sponsors have caught the
salient points of the story and welded
them into a vigorous yarn — using
backgrounds which are truly elo-
quent. The humor is not abundant.
It is compressed here in the episode
involving the exchange of babies at
the husking-bee. Pathos creeps in —
and is presented with genuine feel-
ing. We overlook the familiar points
— such as the conflict with the
rustlers — and the romance between
the cowboy and the school-teacher.
These obvious factors are absorbed
thru a genuinely dramatic treatment
of a compelling story.
But it drags interminably at times
— due to an emphasis being placed
upon the characters and detail — and
also to the fact that we are familiar
with its plot. The Virginian and the
other cowhands grow tiresome to-
ward the end.
IT is plain to be seen that James
Cruze's forte is comedy, after wit-
nessing the sparkling treatment
of "To the Ladies" (Paramount).'
We approached this satire on
business efficiency rather skeptical
whether anything substantial could
be made from it — seeing that the
authors depended on a quantity of
witticisms and a realistic slant of that
most wearisome of indoor sports —
banqueting. Indeed, the play de-
pended entirely upon this banquet
" calender at Jht!
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Name ...
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AT HOME
VOL7 can make $15 to $60 weekly in your spare
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WEST-ANGUS SHOW CARD SERVICE LIMITED
Authorized Capital $1,250,000.00
74 Colborne Building, Toronto, Can.
(Ninety-six)
scene- sin< >■ h expo e<l the hokum of
aftei dinner speeches.
e, however, has enlarged upon
the play, lie has sensed the keynote
of middle class mediocrity and
draws the humdrum existence of a
wage slave in ;i most human and
sympathetic manner. So we have
mard Heche (our central char-
acter) at home and a1 the factor)
;t meek, colorless individual — whose
wife goads him into asserting him
self. Comes a time when he is
advised that he will he called upon to
make a speech at a forthcoming ban
quet, so he memorizes a madi
order address, one culled from a
book. Hie party who precedes him
gives tin' identical speech, thus steal
mg his thunder. He is stricken with
fear — hut his wife grasps the oppor-
tunity 1>\ making an impromptu ad
dress which instantly wins her hus-
band a long-awaited reward. There
is a little conflict here which is a sorl
of anticlimax, hut Cruze has
handled his material so deftly — thai
the picture offers a deal of spontanei-
ty of humor — a quality which inure
than compensates for the rather weak
conclusion.
The banquet scene is a gem — one
which is never overstressed — and
keeping pace with it is a lifelike
slant upon those people who buy
their homes and their household
goods upon the instalment plan — a
slant not so well suggested in the
play. It is clever satire, skilfully
humanized. And expertly acted by
Edward I h irton. 1 [elen Jerome
Eddy, who carries away the hon-
ors. Theodore Roberts and Louise
1 >resser.
AX argumentative subject is given
a visual hearing in ''This
^Freedom" (Fox) — and allow-
ing for a scarcity of action which is
replaced by wordy captions, it may he
called a first-rate picture. Indeed, it is
the best English importation to date
— and carries out its author's theories
to the dot. A. S. M. Hutchinson has
rot written 'another "If Winter
Comes." In the first place,' it doesn't
present any such idealistic figure as
Mark Sabre, nor does it offer much
dramatic movement. However, once
its characters are all introduced, it
swings into its main argument and
finishes with a stirring climax.
Hutchinson argues in a familiar
fashion. He would show a woman's
home crumbling to pieces in her re-
fusal to abide by the natural law of
her sex — the care of that home. She
will trespass on man's domains —
with the inevitable result — stark
tragedy. A daughter dies — and a
son is disgraced — and she realizes
the futility of her career. But lead-
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ing up this chaotic state, the spec-
tator is compelled to sit thru a .deal
of incidental argument between hus-
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she is impulsive. And neither is able
to extract any sympathy. It may be
said that the heroine presents a
pathological study.
The picture is often tiresome and
always obvious — but it is deftly acted
by Fay Compton — whose poise and
understanding are sure and accurate.
Her portrayal belongs in the most
exclusive gallery. She seems to be
the perfect embodiment of what she
represents. The other players are
colorless in comparison, partly be-
cause they're not sufficiently com-
petent ; partly because Hutchinson
sacrifices lesser characters to make
capital of his protagonist.
GEORGE ADE has given
Thomas Meighan another
likely story in "Woman
Proof" (Paramount). While it is a
variation of an old theme, the author
has a faculty of dressing up his ideas
so that they appear novel and bright
This time he employs the "Brewster's
Millions" formula with a twist or
two. Instead of presenting one heir
compelled to be married within a
specified time — he shows two — in
addition to a couple of heiresses. His
hero is not painted as a young spend-
thrift, but as a hard-working youth
who is shy of feminine entangle-
ments.
The piece sparkles with bright
quips and incident — and while it
furnishes a typical movie finish, it is
conceived and executed in such a
humorous manner — that there is not
a single moment of boredom sug-
gested. It offers two or three happy
surprises — one of which is the wed-
ding on the ship — with the radio be-
ing employed to transmit the mar-
riage to the folks at home. It re-
leases clever satire and is played with
fine appreciation by Tom Meighan.
NOTHING is added, nothing
is taken away" — to quote the
slogan of a prominent bread-
maker — in regard to Bill Hart's pic-
ture, "Wild Bill Hickok" (Para-
mount). It goes back to first prin-
ciples— back to the days when the
man who made gun-toting an art was
a Triangle star. The spectator will
be more interested in watching Hart
■ — to discover if Bill has some new
tricks up his sleeve -ince his retire-
ment. But he wont be surprised, for
the star still carries on in the same,
old familiar fashion — crouching
when pulling his trigger fingers —
and shutting his eyes when the spark
of romance fades from his life.
It is quite episodic, tho it does re-
(Ninety-sight)
She Looks up Confidingly
Bl 1 ha confidence is as much in htf
own beaut) u in him. Ska known thai
Krr ryc-j air bewitching, veiled aa they are bl
WINX d u k< n 111 Although tl
ihc ttnal dance ot a crowded evening, the
\\ l\\ hat lasted throughout it all. Close as
he is lie cannot see it il is invisible on the
lashes.
your eyes beautiful l>v darkearina the lashes
wild U INX. Apply ii «ith the glass rod attached to
the stopper — it niak.es the lathes appear longer anil
heavier. Dries ioatantb Harmless, walerprool. Un-
attevted hy penpiration or weeping at the theatre.
\V1\\ black a brown) 75c. To nourish the lashes
and promote growth use cojodeai Cream Lashlux at
night. Cream L.ashjux tblacL, brown or col
50c. At drug, department stores or by marl
II - I >/ WINX and of
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j dime each. Enclose coins.
ROSS COMPANY
78 Grand Street New York
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YOU CAN WRITE,
for the MOVIES !
Producers want-need-new Ideas
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NIAGARA SCHOOL OF MUSIC,
Dept. 630. Niagara Fall. N. Y.
lease considerable gun play. Bui the
discei ning I'lili" ikei v> ill wondei
a i< u trick thai ai e exr> ised, l ■ u
ince, how is it that 1 'ill can fire
ii iii-iii i u iw ent)
times without reloading .with bul
It tfi speeding toward him i >n i
side ? \gain he makes a fine ta
■ I himself when he raises his guns
to the sky before shooting.
The pli it expi ises the hectic life of
a genuine figure back in the days
when danger lurked in the frontier
i- '\\ ii. \ typical Bill I i art storj
even to the romance. And we call
ii hokum.
0< I] )! ,ES of sentiment and ro-
mance gush forth in the pic-
ture version of "Maytime"
I Preferred ) until 1>\ the time the
conclusion is reached, the number is
as sticky as a molasses jug. I he
character of this plot calls for much
repetition of scene — and because
there is little dramatic movement,
the action becomes uninteresting —
and this goes for most of the char-
acters. Aside from the development
of the romance between the central
figures, the lesser characters donl
have any opportunities for emotional
expression. Several stand around
in dramatic postures.
It is not deftly acted, Ethel
Shannon not being the right choice
for the romantic girl. She appears
to be playing the part more than she
is living it. The quaint comedy re-
lief of the stage is exceedingly mild
and almost negligible. It strikes us
as if it could have been done much
better. A parade of costumes and
romantic postures.
Tl 1 E edge has been taken off this
opus thru its having been pic-
turized before — with much bet-
ter effectiveness — and also because
of any lack of that elusive quality
known as suspense. Kipling's ''The
Light That Failed" ( Paramount) —
a tale of an artist who is stricken
with blindness just as be is complet-
ing his masterpiece, is as old-
fashioned as it is depressive — and
aside from Percy Marmont's sympa-
thetic study of the painter and Jac-
queline Logan's brunette appeal, it
fails in winning recognition to be
placed in the exclusive gallery.
( ieorge Mel ford has much more
ng with bis atmosphere, altbo be
has striven to make the story ring-
true. P)Ut why the suggestion that
the artist's sight will return? Must
we continually serve up pap to the
happy enders? This picture is told
othly enough, but its vital pathos
is only mildly indicated.
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WRITE FOR THE MOVIES
k
Ideas for movine picture plays wanted by producers.
Big prices paid for accepted material. Submit Ideas
in any form at once for our immediate ex-
amination. Or write for FREE PHOTO-
PLAY BOOKLET and details of our serv-
ice to Authors.
BRISTOL PHOTOPLAY STUDIOS
Suite 601F Bristol Building, New York
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The Yankee Consul
{Continued from page 61)
discovery brought a whistle to his
lips. He stared down at the official-
looking paper on the top tray of the
trunk. ■'Appointment of Abijah
Boos as consular agent to San
Domingo," he muttered. "Whew, I
am in bad ! Wonder what other
crimes besides impersonating a U. S.
Consul I'm going to commit?"
With each difficulty, each hint of
danger, his spirits rose. With the aid
of Morrell's camera and flashlight
powder he took his own picture to
replace the bewhiskered one on the
passport. Meanwhile there was
always the chance that he might be-
come better acquainted with the
mysterious but lovely lady who
needed his help.
The immigration officials regarded
the distorted countenance, on the
passport Ainsworth presented them
and shrugged their shoulders — but
certainly that was never the sefior !
"It's awfully kind of you to say so."
the sefior said gratefully. "Take an-
other look now." He screwed his
face into the horrible squint which it
had worn when the flashlight powder
exploded and the likeness was un-
mistakable. As he and Morrell
emerged from the customs-house,
two Americans in white-duck suits
and pith helmets pushed thru the
clamoring horde of native beggars
and the shorter, after a glance at the
initials A. B. on the handbag Ains-
worth carried, shook him heartily by
the hand.
"Glad to meet you, Mr. Boos," he
said with unmistakable sincerity, "I
was afraid you wouldn't get down
till the next boat — I'm Ripley, you
know, the retiring consul, and I dont
want to discourage you right at the
outset but I dont mind telling you
I'll be mighty glad to go back to the
United States."
It was no part of Dudley Ains-
worth's plan to carry the impersona-
tion of Abijah Boos beyond the
customs-house door. He was open-
ing his lips to disclaim all rights to
the name, but the words of the other
white-clad man halted his confession.
"Excuse me for butting in." said that
worthy, "but my name's Doyle,
George J. Doyle, I'm a Secret Ser-
vice man and I've got a warrant here
for one Dudley Ainsworth who's
wanted back in the States. Do you
happen to know whether there was
a fellow by that name on board ?"
The incoming consul replied hastily
that he was certain there wasn't.
The pseudo Abijah Boos mopped a
bedewed brow. "Sweet town !" he
commented bitterly to Morrell after
the others had left, "with a box of
gold pieces in the place a man's life
wouldn't be worth a German mark if
the natives found out about it!"
"Well, you were keen on dying a
week ago," Morrell reminded him
unfeelingly, "remember that cyanide
cocktail you were begging for so pit-
eously? S'long, old top. I'm going
to take a nap if I can find a bed —
in this marble shanty."
Morrell opened a reluctant eye to
see his friend standing over him.
"I'm leaving you to guard that chest,"
Ainsworth said hoarsely, "something
has got to be done about it and I'm
going to do it ! After all, I'm re-
sponsible so long as I'm playing
consul ! And I cant stop playing
consul or that Doyle will clap me in
jail — God knows what I'm accused
of back in the States, probably old
Boos wants me arrested for abscond-
ing with his nightshirts !"
He was gone, wild-eyed. Morrell
winked at the charming lithographed
lady taking a bath in a marble pool
on the wall, turned over and went to
sleep.
The telegraph office was close to
the consulate. Ainsworth signed the
atrocious name which it seemed likely
he might carry to his grave and
handed the message to the operator.
"To be sent by radio," he directed
and felt in his pockets for change.
With a dollar bill he drew out an-
other bit of paper folded in a cocked-
hat note and addressed to Abijah
Boos in a woman's handwriting. In-
credulously he stared down at the
single line it contained: "Save me
by five o'clock or all is over — Maria,
Sans Souci Palace." She must have
slipped it into his pocket when she
brushed near him in the hurry of
disembarking! A quick glance at the
clock brought a groan from his lips —
four o'clock and in an hour all would
be over !
Leopoldo beckoned him with a
glitter of polished nails. But Ains-
worth shook his head. "I've got an
"Certainly. I understand. All
the consuls have the engagement to
report at the San Souci Palace as
soon as they arrive." Leopoldo
smiled, "I have come to get you,
Sehor Boos!"
But at least he was going to the
Sans Souci Palace where Maria was
waiting. The new consul found him-
self returning the bow of a magnifi-
cent gentleman with a uniform that
looked like that of the carriage
starter at the Ritz Hotel.
{Continued on page 103)
(One hundred)
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Flashes from the Eastern Stars
(Continued from page 57)
married now three or four months
and still adores her Irish husband.
The New York critics liked her
part in "Flaming Youth." * * *
A new studio has opened down in
Florida, in no wise discouraged by
the big shut down. This studio is
located in Hialeah, a suburb of
Miami, and is available for imme-
diate use. * * * A play deal-
ing with the custom of married
women's retaining their maiden
names, titled "The Waning Sex,"
by Frederic and Fanny Hatton,
has been produced on the West
Coast and is to be brought to
Broadway at the end of the season.
Lucy Stone League, please take
warning! * * * Oliver Morosco
will put into immediate rehearsal
a play by Richard A. Purdy, en-
titled "Across the Street." * * *
Eugene O'Neill, author of "Anna
Christie," says that Thos. H. Ince's
motion picture of the play is a
"fine, true representation, faithful
to the spirit and intent of the orig-
inal." He formed this opinion and
expressed it in a telegram to the
producer when the film was pro*
jected for him at the home of
Kenneth MacGowan, his associate
in the direction of the Province-
town Playhouse. Altho the show
lasted over two hours because the
eight reels were projected by a
small machine at less speed than is
usual in a theater, the playwright
gave unflagging attention to the
first of his dramas to reach the
screen. * . * * D. W. Griffith
returned yesterday from Virginia
to his Mamaroneck studios, after
photographing scenes on eleven
historical spots for his Revolution-
ary film, "America." The surren-
der of Cornwallis was taken in
Yorktown on the ground where it
actually occurred. More than
forty persons whose ancestors
were present at the surrender took
part in the scenes. Yorktown gave
Griffith a thrill by parking his spe-
cial train on a siding around which
was buried a cache of TNT said by
government officials to be valued
at two hundred million dollars.
This is the army base for high ex-
plosives and the tracking where the
train stood was on government
property. * * * Dr. Luigi
Pirandello is seated on a pier on
the Mediterranean awaiting word
from Brock Pemberton that one of
the Broadway theaters is available
for his plays. Mr. Pemberton will
probably come in with either
"Right You Are" or "Henry IV."
It is worthy of remark that Piran-
dello gained Continental recogni-
tion thru America. After "Six
Characters in Search of an Author"
was produced here, Paris conde-
scended to look at it. The play
was a sensation and it was fol-
lowed by "The Pleasure of Being
Honest." Preparations were made
to show it in London, but censor-
ship supervened. Then a German
manager dashed to Paris to buy all
the rights in the world to Piran-
dello's plays. Mr. Pemberton just
managed to secure the American
rights. * * * Booth Tarking-
ton, who wrote "Pied Piper Ma-
lone" especially for Thomas
Meighan, has consented to write
another original story for the
screen, according to Mr. Meighan.
So pleased was Mr. Tarkington
with what he saw at the Para-
mount Long Island studio where
Alfred E. Green is producing "Pied
Piper Malone" that he immediately
agreed to write another story in
the near future for Mr. Meighan.
This is the first time that the fam-
ous Hoosier author has taken an
active part in the filming of one of
his stories. He is chief supervisor
of the present film and has spent
several days at the company's
studio getting the story into shape.
Mr. Meighan's father died unex-
pectedly last month and altho both
Thomas and James Meighan
hurried to Pittsburgh, they were
too late. We extend our true sym-
pathy to Mr. Meighan. * * *
The memory of Martha Mans-
field's tragic death is still with us.
Her body was sent to New York
for burial and many friends of both
stage and screen paid their last re-
spects. We are deeply sorry for
the passing of a sweet spirit. * * *
Doris Kenyon just refused a
motion-picture offer of $2,500.00 a
week, to play the leading role in
"The Gift," a stage play by Julia
Chandler and Anna Lambert Stew-
arj. * * * Rehearsals are un-
der way by Joseph Schildkraut in
Gladys Unger's "The Robber
Knight," which Sam H. Harris is
producing. Another of Miss
Unger's plays is now in the
hands of Leo Ditrichstein and
Lola Fisher. * * * Old Fort
Schuyler, New York, which
has been practically abandoned
for a number of years, has
been reconstructed to appear like
the St. Lazare prison of Paris for
(One hundred and two)
CI \
nes m " I he I lumming Bird."
'ii information received from
is thru Jules Sevilli, of the
French Bureau <>i' Information in
NYw V'ork, the ai t department at
the Paramount Long Island studio
u as ahle ti ■ reo instruct the prison,
using the old fort as a foundation.
* * * No theatrical person lias
ever taken the town quite so by
ni as did Dorothy Stone, oldest
daughter of Fred Stone, when she
made her debut with her father and
mother at the Globe Theater. The
many things that have been writ-
ten about this seventeen-year-old
prodigy have not been inspired by
mawkish sentimentality, if one
takes as evidence the manner in
which even the hardest boiled crit-
ics have raved about her talents
Much has been said about how she
was trained for her part in the
mimic world from the time she
was seven years old. It was not all
training that did it. If ever the
theory oi heredity was proved, it
is, in her case. * * * A whole
Warner contingent has arrived
from the West Coast studios,
headed by Jack L. Warner, Ernest
Lubitsch, his wife, and Erie Locke,
the hitter's manager. Lubitsch's
purpose in coming to New York is
threefold. He has completed his
new picture, "The Marriage .Cir-
cle," and needs a rest ; his children
are en route from Europe and he
has come to meet them : and he has
to find material for his next picture
to he made under the Warner
banner. * * * The Cosmopolitan
Corporation announces that it has
selected "Janice Meredith" to star
Marion Davies following her ap-
pearance in "Yolanda." "Janice
Meredith" has been adapted from
the novel of the same name by the
late Paul ! Ford, II
.1 romance ol the Revolution
period ol American h and
man) ol it i i hai a< tei 9 ai e tl
w ho w ei e found ei • of the Amei i
v .in Republh ,oi w ho w ei c •
spicuous in its eat ly de> elopmenl
I hose famous in history w ho will
appear in tl
Ma s li i ng t i in, Benjamin
Fl a n k I i n, I. a I a \ e 1 1 e, Sam uel
\dams, John Hancock, Rocham-
beau, General Charles Lee, Paul
Revere, General Cornwall is, Lord
Howe, Major Pitcairn, King Louis
XVI, and Marie Antoinette. The
research necessary for the planning
of costumes, settings and multi-
tudinous details of the production
has consumed nearly a year. It
has been found necessary to scour
antique shops, museums and Co-
lonial homes in New England and
New York for paraphernalia, such
as muskets, swords and clothing
appropriate to the time, which will
give a note of accuracy. * * *
Thomas Meighan and his company
of fifty-nine players ended their
stay in Georgetown, S. C, where
they have been filming exterior
scenes for "Pied Piper Malone,"
with a benefit performance for the
poor children of the town which
netted six hundred dollars. Mr.
Meighan contributed one hundred
dollars and other members of the
company gave two hundred dol-
lars, the balance coming from the
townspeople who paid to see the
performance. * * * Vitagraph
announces that it has purchased
world rights to "Borrowed Hus-
bands," by Mildred K. Barbour,
for the third J. Stuart Blackton
production to be released by this
firm. The scenario is now being
written by C. Graham Baker,
edit 01 -in-i Imi ol Vitagi aph. *
All.. • • 1 Smith, pi 1
in London
win I al Sabatini.
authi 'i ol "< aptain Bl< ■ -r 1 < 1
pit tin c to w In, h Mr.
Smith pun hased. I le had the
ptional ex| 1 tid-
ing a da\ with the author and
tramping over th<
Bridgewater, w lure the laid.
Whitman Bennett an-
nounces thai Ins -, reen production,
"The I lousier Schoolmaster,"
almost finished. From what he has
already seen of the film edition of
Edward Eggleston's story, Mr.
Bennett believes thai the produi
tion adheres faithfully to the
original story. It is a portrayal of
the early pioneer days of Indiana —
the days of '53, when a few hardy
ad\ OCateS of "law and order" coped
with night riders who would have
made of frontier life an en<!
horror. It is a story of the period
in Indiana history when neighbor
distrusted neighbor and only seeds
of hate were sown until the
Hoosier schoolmaster cane to
bring order out of. chaos. Henry
Huli plays the lead. * * *
J. Parker Read, Jr., is producing in
Europe a film version of Rex
Beach's story. "The Recoil'," for
< roldwyn. Betty Blythe is the star
and Mahlon Hamilton will be seen
opposite her. The scenes will be
laid in London, Paris, Rome and
Monte Carlo. * * * Hodkinson an-
nounces for January "Grit," a Film
Guild production, starring Glenn
Hunter. The story is by F. Scott
Fitzgerald and in the cast is Clara
Bow, who made her film debut in
"Down to the Sea in Ships," and
Osgood Perkins, who played the
Devil in "Puritan Passions." ::
"Seiior Boos, Don Rafael Deschado
is your worship's servant." this re-
splendent being assured him, "we
willdrinkthehealth.no? Yes? But
first one so-small matter of business.
You Yan-kees do not mind the busi-
ness, yes? No?" he poked a playful
finger into Dudley's ribs, "you have
in your consulate some property of
mine, a chest, no? Yes! Ah. you will
deliver it to my servant when you
return: Yes? No?" Tho couched
in terms of a question, it sounded
more like an order.
"I'll be damned if I will!" Ains-
worth returned promptly. What
would happen next he did not know
and he didn't particularly care. A
fellow rigged up like a musical-
The Yankee Consul
(Continued from page 100)
comedy king giving orders to a citizen
of the United States! His muscles
tautened for defence, then he uttered
a startled exclamation. For an in-
stant the curtains at the end of the
room had parted, showing the terri-
fied face of Maria, more beautiful
than ever in its distress, then a hand
clasped around her throat, drew her
back and the curtains closed.
In six strides the Yankee consul
had reached them, but the room be-
yond was empty. Hot rage swept
him, he whirled violently upon the
two men to demand an explanation,
only to find that they too had dis-
appeared !
The next hour was too crammed
with action to leave time for sane
thought. It did not even surprise
him that suits of armor should come
to gibbering life as he raced down
endless stone corridors and hack at
him with battle-axes or that an
uppercut upon the point of the vizor
should reveal Leopoldo's face within.
And then, from the direction of
the sea came the roar of a cannon
in salute. The umbrella wavered in
Dudley Ainsworth's hand. "Thank-
God!" he gasped, "the Navy got my
wireless for help and has come."
The words had a strange effect
upon the two corpses, bringing them
to life with a start. Morrell uttered
an exclamation of consternation and
flung the revolver pettishly into a
far corner. "You .sent for the United
(One hundred and three)
Another Gripping Instalment of
===== * * Thistledown "=
By DANA GATLIN
In which Hi Daggett finds considerable opposition on the part of his
high and mighty sister to his meetings with Thistledown. He has
somewhat of a shock when he discovers what seems to be a rival for
the hand of the beautiful waitress ■ But get the March number
of Motion Picture and read it yourself — the farther you get into
this gripping romance, the more surprises you will meet. The March
Motion Picture will let you know just what Hi Daggett thinks of
so-called family pride. There is a lesson for all of us in this.
"Mae Marsh and Early Days"
By Helen Carlisle
Tells about the way Mae won her
stardom in the movies and how she
threw rocks at the dear, departed
Bobby Harron to attract his atten-
tion; how she idealized Blanche
Sweet; and how she captured Mary
Pickford's interest. {Appealing)
The Movie Fan Abroad
By One of Them
How she cut out the regular sight-
seeing for the movies and discovered
"Chariot" (Charlie Chaplin) and
Pearl White in the French houses
and Harold Lloyd in England, how
she was corrected for saying "Mov-
ies" instead of "Cinema" in London,
and spurned for passing up Michael
Angelo in Rome. (Humorous)
Interviewing Movie Stars
Harry Carr tells different characteristics of the movie stars when being inter-
viewed: Doug interviews himself. Mary is so indiscreet she must be pro-
tected against herself. Lillian Gish is the delight of all scared little girl
interviewers. Dorothy the same. Pola Negri has inward contempt for
interviewers but talks well and thinks what she thinks. Charlie
Chaplin is easy — gives striking ideas without coaxing. Mack Sennett
has to be led by the nose to the ordeal. Norma Talmadge least im-
pressed by publicity. Constance doesn't think about it one way
or the other. Louise Fazenda's interviews a hilarious experi-
ence. Mabel Norman — might as well try to interview the
March wind.
MARCH
Motion Picture Magazine
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States Navy?" he wailed, "a nice
mess you've got us in !"
The faces of Leopoldo and Don
Rafael registered ludicrous dismay.
Maria helpless with laughter had
sunk upon the chest. With growing
comprehension Ainsworth's glance
traveled from one to the other. Very
slowly he clicked his heels together
and made them a stiff little bow. "I
confess," he said curtly, "that I dont
see it all yet, but I take it I have been
furnishing you with a good deal of
amusement by playing the fool. If
you are quite thru, perhaps you will
excuse me "
He was turning away but a small
hand touched his arm. The laughter
had slipped from Maria's lips: "Oh
you mustn't think that ! It was all a
plot to furnish you with an interest
in life. Jack was terribly worried
about you when he had dinner with
us last week and we decided that you
needed something to take your mind
off yourself and — and — your collar
buttons !"
Morrell gripped his friend's hand.
"If it will make you feel any better
to kick me downstairs. Dud. old fel-
low, go ahead and kick. But dont
blame the others, they're all good
friends of mine and I persuaded
them into it. I meant well, but I
didn't reckon on your sending for the
Navy !"
Ainsworth's set face relaxed. He
smiled grudgingly.
Maria turned from the window.
"No need to worry about the Ad-
miral!" she exulted. "I can see the
flags on the launch — it's the Bellcr-
pJwn that got your message, and my
Uncle Walter is in command ! But
I am afraid your reign is almost over,
Mr. Consul!"
Dudley Ainsworth took a step to-
ward her and there was something in
his expression that sent the others
hastily tiptoeing out of the room.
Morrell, last to leave, turned on the
threshold, "Oh, by the way, Dud, let
me introduce Miss Mary Rutledge —
she's the girl I wanted you to meet
in New York. Mary's awfully clever.
I bet she even knows how to put col-
lar buttons in shirts "
In two strides Dudley reached the
door, slamming it on his chum's grin,
then he turned back into the room.
"A joke?" he asked softly, taking the
lovely face before him between his
big palms, "was it — all a joke, my
dear? The things I said to you this
afternoon — the things you said to
me ?"
A lusty knock sounded on the door,
"I say. Dud," Morrell called, "how
about it ? Do I win the ten thousand ?"
He rapped again, more loudly, but
there was no answer. The two
within had not heard. . . .
(One hundred and four)
Beauty Is Its Own Excuse for Being
We do not have to make excuses for the beautiful things of
the world — and in this spirit we are presenting the
Big March Number of Beauty
which is more brimful than ever of the good things that make
for a beautiful woman, from the secret formula of a charming
character to the art of wearing clothes.
The Thoughtful ♦ ♦
♦ ♦ ♦ Twenties
A never-to-be-forgotten folio of seven lovely young
women who are just over or under twenty. This
alone is worth the price of the magazine.
Follies' Girls ♦ ♦ ♦
♦ Reveal Beauty Secrets
A Quartette of Follies' Girls Reveal Their Beauty
Secrets, a two-page spread with exquisite portraits of
girls, and their own rules for preserving their beauty
of face and figure.
DEPARTMENTS TO BE CONTINUED: Dr. Brewster will discuss the subject of "Nerves" and give
advice and a scheme of living to nervous women. Josephine Bessems will talk to the woman who has no
"pep" and give her a special diet. Penelope Knapp will discuss relaxation. Frances Harmer in her depart-
ment, "The Lady Looks About Her," will give the latest news about what women in society, on the stage and
in the movies or in public life are wearing, are doing and talking about.
Inspirational, main- sided, distinctly individual, this magazine's policy is to arouse
woman to seek beauty as her inalienable right, using its radiating influence for good,
so that she as well as those about her may be happier. There is no doubt about it,
the best effort of this aristocratic magazine is to be found in the
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^Wv^^y.^*»g=
i-<SF5^552=JL-
DEFINITION
The practice of Chiropractic
consists of the palpation
and adjustment, with the hands,
of the movable segments of the
spinal column to normal posi-
tion for the purpose of releas-
ing the prisoned impulse.
FOR
.It1 '
By Merit Alone,
Chiropractic
has grown from an idea in the mind of
one man in 1905, to the second largest
health profession in the world.
There are now approximately 25,000 prac-
titioners, more than a hundred schools and
about 15,000 students.
Twenty-six state governments have recog-
nized the science as distinct and different from
anything else on earth.
In less than nineteen years this growth has
been effected by reason of its efficiency as a
health method.
Chiropractic has never had a single dollar
of endowment from state or national govern-
ments. It has overcome the prejudice of the
public and adverse laws in every state in the
Union by its results upon the sick.
It has recruited its patients from among
those upon whom other methods failed, and
with these failures of other methods upon
which to prove its efficiency, it has made the
most phenomenal growth of any health method
in the history of the world.
TRY CHIROPRACTIC AND GET WELL
Write for information regarding Chiropractors or Schools to the
Universal Chiropractors Association, Davenport, Iowa, U. S. A,
All Rights Reserved
<jgi<ft.\s&.^j^.^.^.^^
EDWARD LANGER PRINTING ro. . INC..
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the loveliest of screen stars
tells a priceless beauty secret
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I 1
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Crime de Beaute 50c
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Skill Food $1.50
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Rouge Compact . . 50c, $1.00
Vivante Talc . . . 25c, $1.00
The Chandon Company. 509 Fifth avenue. New York, exclusive Distributors for the United states
Watch 3 to 10 Inches Vanish
From Hips and Waist
Safest, healthiest way to reduce! The amaz-
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Tl 1 1 ■". m.ir\ elous sci< in It'u- Madame
X Reducing Girdle improves
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.iiul reduces your waist, hips,
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wait." I"he instant you put it on, tin-
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your figure becomes erect, graceful,
youthfully slender! And then, with
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the fat is met by new live rubber which
■nth/ massages it away — though you
hardly know you have the girdle on.
women lose one to three inches
the very first week and thousands
have lost from seven to ten inches in a
remarkably short time!
Physicians Endorse It
The Madame X i^ the
safest, surest, healthiest way
to reduce. Its principles art-
endorsed by reputable physi-
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its reducing action but be-
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the figure. It is made of the
highest grade, dry heat-
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kind used by famous athletes
for healthful reducing pur-
poses) and is based on scien-
tific massage principles that
have caused reductions of 5,
10, 20 pounds and more.
The rubber is live and there-
fore gives you a real massage
effect. Only live uncovered
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The Madame X Reducing Girdle does
away with them forever!
The Madame X fits you as smoothly
and snugly as a kid glove,
]&'*£$ ar>d is so constructed that it
■^V fits right into the figure and
\ touches and gently massages
every inch of the surface con-
tinually.
woni oiyr
.Y. Hand Turned Hem
I'rt-.itUs Splitting or
Tearing
It is always
the under-
garment .
Worn Over the
Vest
It encircles the hips
and thighs as well as
the abdomen and holds
them in. It comes
well up over the dia-
phragm and supports
the muscles of back and
sides, helping prevent
fatigue. Observe the
front cut-out which in-
sures perfect comfort
while you sit, work or
play. And the special
lacing in the back which makes it easy
to adjust as you become more
slender. The garters hold the
Madame X firmly in place, so
that while you enjoy maxi-
mum freedom of motion,
your entire figure is held in
firmly and the body is kept
erect and well-poised.
Leading Actresses
Wear It
Step into the Madame X
Girdle and you will readily
see why so many prominent
actresses are so enthusiastic
about it. You can wear
stylish, becoming clothes at
once! It gives you immediate-
ly the smooth, straight, un-
broken lines that add so
much to the appearance —
and absolutely insures your
remaining slender. Thousands of slen-
der women wear the Madame X solely
for its wonderful comfort.
So great is the popularity of the
Madame X that one of New York's
largest stores was recently forced to
throw open a whole new department to
handle the crowds.
See the Madame X Reducing Girdle
for yourself. Also be sure and ask to
see the new Madame X Brassiere which
does for the upper figure just what the
girdle does for the waist, hips and thighs.
p»t.
H>> 13
Miss
Gilda
Gray
the famous
dancer and
Ziegfeld Follies
star, says:
"The Mad-
ame X corset
does all that is
clai med for it
and more. It is
really a reduc-
ing corset that
reduces, and so
easily and com-
fortably worn,
it is a joy as
well as a bene-
faction."
(signed)
GILDA GRA Y
Photo by Ei'.utard Thayer Monroe
Note: To avoid disappointment always insist on the Mad-
ame X, the original reducing girdle, which is made of pure,
live, dry heat-cured rubber, the strongest and most durable
rubber known, with special hand turned hem which prevents
splitting or tearing.
Write for new 24 page booklet "The N'ew Healthful Way to
Reduce" which explains in detail how the Madame X makes
you look thin while getting thin. Address
THE MADAME X COMPANY. INC.
Dept. G-2010, 410 Fourth Avenue, New York City
Madame X
On Sale at All Leading Stores Where Corsets Are Sold
^uJadame\Reducmg Girdle
Makes Ybu Look Thin <d lL While Getting Thin
WESTERN DISTRIBUTORS; INEWMAN £r SONS Inc- CHICAGO •"•CANADIAN DISTRIBUTORS' DOMINION CORSET COMPANY LTD- QUEBEC
(Three)
sr&yG^
<r^^h
1& jsT
K-^I
rARAMOUNT'S unique facilities enable any star
or any director to create greater pictures and greater success.
The consciousness of no limits on necessary time, money or
equipment, together with the sense of thousands of waiting
Paramount audiences, is the ideal tonic for the creative
temperament.
This is another reason why if it's a Paramount Picture it's
the best show in town !
NEW PARAMOUNT PICTURES
Adolph Zukor and Jesse L. Lasky present
" CODE OF THE SEA "
A VICTOR FLEMING Production with Rod La
Rocque and Jacqueline Logan. Story by Byron Morgan.
Screen play by Bertram Millhauser.
Adolph Zukor and Jesse L. Lasky present
"BLUFF"
A SAM WOOD Production with Agnes Ayres and
Antonio Moreno. From the story by Rita Weiman and
Josephine L. Quirk. Screen play by Willis Coldbeck.
Adolph Zukor and Jesse L. Lasky present
WILLIAM de MILLE'S Production
" THE BEDROOM WINDOW "
With May McAvoy, George Fawcett, Ricardo Cortez,
EthelW ales and Malcolm McGregor. Story and adap-
tation by Clara Beranger.
Adolph Zukor and Jesse L. Lasky present
CECIL B. DeMlLLE'S Production "TRIUMPH"
With Leatrice Joy, Rod La Rocque, Victor Varconi,
Charles Ogle, Julia Faye, George Fawcett, Theodore
Kosloff, Robert Edeson and Raymond Hatton. Screen
play by Jeanie Macpherson. From the story by May
Edginton.
Adolph Zukor and Jesse L. Lasky present
POLA NEGRI in "MEN"
A DIMITRI BUCHOWETSKI Production. From the
story by Dimitri Bucho-wetski. Screen play byPaul Bern.
Adolph Zukor and Jesse L. Lasky present
RUDOLPH VALENTINO in
"MONSIEUR BEAUCAIRE"
A SIDNEY OLCOTT Production
With Bebe Daniels, Lois Wilson, Doris Kenyon, Lowell
Sherman. Prom the novel by Booth Tarkington and the
play by Booth Tarkington and Evelyn Greenleaf
Sutherland. Screen play by Forrest Halsey.
Adolph Zukor and Jesse L. Lasky present
Z_ane Grey's
"WANDERER OF THE WASTELAND"
An IRVIN WILLAT production with Jack Holt,
Kathlyn Williams, Noah Beery and Billie Dove. Screen
play by George C. Hull and Victor Irvin.
Adolph Zukor and Jesse L. Lasky present
GLORIA SW ANSON in "MANHANDLED"
An ALLAN DW AN Production. From the Saturday
Evening Post story of the same name by Arthur Stringer.
Adapted by Frank Tuttle.
PRODUCED BY FAMOUS PLAYERS-LASKY CORPORATION
tyammount
tyLctures
<r$^^
^_0>
(C9>^^
T&^ST
\K.^fl
(Four)
i
OCTOBER, 1924
No. 2
Com k Portrait Bi bi Danih a
Painted bj E, Dahl from a photograph by Russell Ball
Classic's Gallery Of Players, Stage and screen "
Where Was the Camera? Dorothy Donnell 16
Jetta and Her Temperament I lorry (. 'at r 20
Some Costume Caricatures De Pamv 22
Cleopatra, Famous Heroines No. \ 1 1 1 Posed bj Jane Cowl
The Drama's Pousse Cafe, Classic's department of vaude\ ille 24
K The Unknown, A short story Patricia Cork Dugan 27
"Great Britain's Queen of Happiness" 31
Hollywood Homes No. XXIV. Marshall Neilan and Blanche Sweet's 32
"Elsie Janis At Home," A picture page 54
The Romance of the Extra Orville C aldtvell 35
On the Wings of Song, Two sonnets Doris Kenyan
Doug and Mary Vacationing at Aix-les-Bains W
A Thousand Dollars a Day! Jim Tully 40
Classic's Gallery Of Handsome Men No. V. Conrad Nagel 42
Who's Who? On stage and screen 43
The Photographer Takes the Stage 44
The Play of the Month, Is "Abie's Irish Rose" Kenneth Macgowan 4<>
The Picture of the Month, Is "Manhandled" Laurence Reid 47
The Celluloid Critic, M r. Reid goes to the movies 48
Iris In, Pertinent and impertinent screen chatter H. //'. Hanemom 50
Flashes From the Eastern Stars, Of the stage, on the screen Caught by the Editor 51
The New Contest, I >ont miss this page 52
In A California Garden, "Fine Arts", series No. IV 55
Tess of the D'Urbervilles, Written in short-story form Dorothy Donnell 56
Rex, King of Wild Horses, His story Tom Reeves 62
The Hollywood Boulevardier Chats Flurry Carr 64
Dick At West Point, A picture page 68
The Movie Encyclopaedia By the Answer Man 11
K
Subscription $2.50 per year, in advance, including postage, in the United States. Cuba, Mexico and Philippine Islands. In Canada
$3.00; Foreign Countries $3.50 per year. Single copies 25 cents postage prepaid. United States Government stamps accepted.
Subscribers must notify us at once of any change in address, giving both old and new address.
Published Monthly by Brewster Publications, Inc., at 18410 Jamaica Ave., Jamaica, N. Y.
Entered at the Post Office at Jamaica, N. Y., as second-class matter, under the act of March 3rd, 1879. Printed in V. S. A.
Eugene V. Brewster, President and Editor-in-Chief ; Duncan A. Dobie, Jr., Vice-President and Business Manager;
George J. Tresham, Circulation Director; L. G. Cordon, Treasurer; E. M. Heinemann, Secretary.
EXECUTIVE and EDITORIAL OFFICES, 175 DUFFIELD ST., BROOKLYN, N. Y.
Copyright, 1924, by Brewster Publications, Inc., in the United States and Great Britain.
Susan Elizabeth Brady Editor
F. M. Osborne Managing Editor
Harry Carr Western Representative
A. M. Hopfmuller Art Director
Classic comes out on the 12th of every month. Motion Picture Magazine on the 1st, Beauty on the 15th
Announcement for November
MARION DAVIES and her "Janice Meredith" curl on a lovely lavender cover
"WHO'S ZOO AT THE STUDIOS?"
Is the title of one of those clever and informative articles by Dorothy Donnell about
the animals, wild and tame, in the movies: How they are trained; where they are kept; their
habits, family life, working hours and so forth.
"Almost the only animal that cannot be found in Hollywood is the well-known wolf
at the door."
Says the writer of this original and wittv storv. There's another Jim Tully story too,
and Harry Carr interviews the firm's first villain. Wallace Beery. You cant possibly over-
look the November number of "That Different Screen
(Five)
Current Stage Plays
Tabloid Reviews by Marion Martonc
(Readers in distant towns trill do well to preserve this list for reference when these
spoken plays appear in their vicinity.)
v> -
a
fc^i
Ambassador. — "The Dream Girl." A musical
version of "The Road to Yesterday." Music by
Victor Herbert. With Fay Bainter, Walter Woolf,
Edna May Oliver, George LeMaire, Billy B. Van,
Harry Delf and Wyn Richmond.
Apollo. — "Scandals." George White's new re-
vue ; an elaborate and lively show. Among the prin-
cipals in the cast are : Winnie Lightner, Lester
Allen, Tom Patricola, Will Mahoney, Richard Bold,
Helen Hudson, Newtown Alexander, Thea Lightner,
Olive Vaughn, The Williams Sisters, Elm City
Four, Alice Weaver, Sally Starr, James Miller, and
the De Marcos and their seven sheiks.
Booth. — "Dancing Mothers." A play by
Edgar Selwyn and Edmund Goulding, with
Helen Hayes, Mary Young, Henry Stephenson,
John Halliday and others.
Broadhurst. — "Beggar on Horseback." An odd and interesting
dream play, in which a poor struggling composer, under the in-
fluence of an opiate, goes off into a troubled sleep and has a night-
mare. Roland Young gives a fine performance as the composer
who moves through the nightmare. A fantastic pantomime with
charming music is introduced in the second act.
Carroll. — "Kid Boots." A gay musical comedy with gorgeous
settings and costumes. Eddie Cantor furnishes some excellent
comedy as caddie master and private bootlegger, while Mary Eaton
supplies some exceptionally good dancing and singing.
Casino. — "I'll Say She Is." The clever Marx Brothers' quartet
in a delightful musical comedy revue. It has a splendid cast
which includes Cecile d'Andres, who performs some sensational
and daring dances, and the three De Villon sisters of the Folies
Bergere, Paris.
Century. — -"The Miracle." A gorgeous spectacle which no one
should miss ; magnificently staged and acted.
Cherry Lane. — "The Way of the World." Congreve's comedy.
Review later.
George M. Cohan. — "The Haunted House." A play by Owen
Davis. Review later.
Colonial. — "The Chocolate Dandies." A Negro revue. Review
later.
Cort. — "Fashion." A revival of a comedy of manners ; the
sensational success of 1845.
Daly's. — "White Cargo." Leon Gordon's vivid play about a
young Englishman who succumbs to the wiles of a half-breed in
the absence of white women on the west coast of Africa. The cast
includes Conway Wingfield, Richard Stevenso:: and A. E. Anson.
Empire. — "Grounds for Divorce." A comedy from the
Hungarian. Review later.
Fifty-second Street Theater. — "The Crazy Quilt." A revue
something like "Chariot's Revue."
Forty-eighth Street. — "Expressing
Willie." A delightful comedy by Rachel
Crothers in which a simple girl from the
Middle West happens among a week-end
party in a country house on Long Island,
and, by her goodness, exposes and humbles
the demi- fashionable and demi- fakes.
Forty-ninth Street. — "The Werwolf."
A play from the German of Rudolph
Lothar, adapted by Gladys Unger, with
Laura Hope Crews, Lennox Pawle, War-
burton Gamble, Leslie Howard, Bela
Lugosi, Marion Coakley, and others.
Frazec. — "Sweeney Todd." An excel-
lent and well-acted revival of the old
English melodrama about a murderous
barber. The program also includes "Bom-
bastes Furioso" — a sensational burlesque
operetta.
Fulton. — "Top Hole." Musical comedy.
Review later.
Garrick. — "Fata Morgana." An ironic
Classic Lists the Plays in New
York That You Should See
The Miracle
Chariot's Revue
The Show-Off
White Cargo
Expressing Willie
comedy of Hungarian country manners and Budapest
morals. The cast includes Morgan Farley, Emily
Stevens and Helen Westley.
Gaiety. — "Silence." A play by Max Marcin.
Review later.
Globe. — "Keep Kool." A clever and comic revue
with Hazel Dawn, Johnny Dooley, Charles King, Ina
Williams, and others.
Greenwich Village. — "All God's Chillun Got
Wings." A tragic story of a stumbling, groping
Xegro law student who tries to break down the
barriers separating the white and the black races.
Harris. — "Plain Jane." A lavishly produced mu-
sical comedy in which the heroine, Lorraine Manville,
invents something new in rag dolls. This comedy is
made popular by its slick, smart, exciting dancing and
extremely beautiful tunes. The cast includes Joe Laurie, Jr.,
Marion Saki, and May Cory Kitchen.
Hippodrome. — Keith vaudeville. The greatest entertainment in
the world's largest theater.
Hudson. — "Cobra." A well-acted play of sex reactions. Judith
Anderson plays the role of a snakish charmer who lures a rich
youth into marriage.
Imperial. — "Rose-Marie." A musical comedy. Review later.
Klaiv. — "The Green Beetle." A play by JohnWillard. Review later.
Liberty. — "Vanities." Earl Carroll's annual revue. Review later.
Little. — "Pigs." A comedy. Review later.
Lyceum. — "The Best People." A comedy by David Gray and
Avery Hopwood, adapted from David Gray's story, "The Self-
Determination of the Lennoxes," with James Rennie, Florence
Johns, Frances Howard, Hope Brown and Charles Richman.
Miller's. — "Strange Bedfellows." A pleasantly foolish comedy
in which William Courtleigh plays the role of a Tammany type
political boss who proves he is honest when he tries to beat big
business and high society grafters by directing the campaign of a
woman's party. Majorie Gateson, Glenn Anders, Alice Fleming
and others make up the cast.
Morosco. — "No Other Girl." Musical comedy, with Helen
Ford, Eddie Buzzell, Francis X. Donegan, Henry Mortimer,
John Sheehan, Ruth Conley, Doris Eaton, and Helen Carrington.
Music Box. — "No, No, Nanette." Musical version of "My Lady
Friends." Review later.
Neighborhood. — "Grand Street Follies." Is somewhat of an
American "Chariot's Revue." Exceedingly smart and "peppy."
Pokes fun at everything and everybody. "Little Theater" groups
should see this perfectly splendid "spoofing."
New Amsterdam. — "Follies." A new "Follies" in which the
American girl is again glorified in the characteristic Ziegfeld way.
A lavish production. Will Rogers, Ann Pennington, Lupino Lane,
Viviene Segal, Irving Fisher, Evelyn Shaw, Martha Lorber, and
George Olsen and his orchestra are mem-
bers of the cast.
Palace. — Keith vaudeville. Always a
good bill, and drawing more and more
talent from the headliners of the regulars.
Playhouse.— "The Show-Off." A highly
entertaining comedy of an American
family, the daughter of which is in love
with a vain and untrustworthy braggart
who is forever getting himself and those
about him into some kind of mess.
Princess.— "The Wonderful Visit," by
H. G. Wells and St. John Ervine, in which
Catherine Murphy plays the role of an
angel who falls to earth and exposes the
evil doings of the earth dwellers.
Republic— "Abie's Irish Rose." An
amusing study in temperaments of the Irish
and the Jew, in which the irreconcilable is
reconciled thru emotion.
Rite. — "Hassard Short's Ritz Revue."
(Continued on page 8)
(Six)
ITS HERE AT LAST/
cIhe Great American Picture
AND what more natural than
/% that it should tell the en-
• • grossing story of a great
American — in many ways the
greatest of all Americans.
"Here is a screen epic if
ever there was one — some-
thing to be mentioned in the
same breath as 'The Birth
of a Nation,' which it even
surpasses. "
- BOS TON A D VER TISER.
AL and RAT ROCKETTS
ABRAHAM LINCOLN
Scenario by FRANCES MARION Directed hu PHILIP ROSEN
THE best proof in the world that fact can be every
bit as thrilling as fiction is to be found in this re-
markable photoplay. It is film entertainment of
the finest sort. Happily it was realized that the life of
the great emancipator, unvarnished and unaltered,
contained all the elements that make for genuine
drama of the kind that holds an audience spellbound.
During its tense moments you scarcely dare breathe lest
you dispel the charm which has been woven around you
Yoar local theatre will shew "Abraham
Lincoln." Learn when by inquiring
at the box office.
A Kr>&t national Picture
(Seven)
Miss Charlotte Stevens, Christie Film Company.
"I Can Teach You to
Dance Like This"
— Sergei MarinoS
'And you can study under my personal direction
right in your own home"
FEW people living
outside of New
York, Chicago or
the great European
capitals have the oppor-
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erage teachers range upward
ten dollars an hour.
But now, the famous Sergei MarinoS
has worked out a system of home in-
struction. You can learn classic danc-
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Russian, ballet, aesthetic, Greek — at
a mere fraction of the cost of lessons
in the studio.
FREE
Dancing Costume, Phonograph
Records, Complete Studio Outfit
A dainty costume, designed so as to
permit free use of the limbs, ballet
slippers, everything you need to help
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beautiful photographs illustrate every
lesson while phonograph records and
the simply worded text teach the es-
sential points of technique.
from
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As a means of developing
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Write to Sergei Marinoff
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instruction in Classic Dancing. This informa-
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SM. Sergei &Marinojf
A Fascinating Way to Learn School of Classic Dancing
It is SO easy and SO delightful. Just 1924 Sunnvside Avenue Studio 12-77, Chicago
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Current Stage Plays
(Continued from page 6)
Revue by Anne Caldwell, and Roy and
Kenneth Webb ; music by Jerome Kern and
others. With Charlotte Greenwood, Tom
Burke, Myrtle Schaaf, Hal Forde, and
Brennan and Rogers.
Selwyn. — "Chariot's Revue of 1924." A
London revue produced by Andre Chariot,
and imported by the Selwyns, with Beatrice
Lillie, Gertrude Laurence, Hobert Munden,
Nelson Keys, Jack Buchanan, and others.
57n<&<*;f.— "Marjorie." Musical comedy.
With Elizabeth Hines, Richard Gallagher.
Andrew Tombes, Roy Royston, Ethel
Shutta. Review later.
VanderbUt. — "The Exiles." A play by
Arthur Richman. Review later.
Winter Garden. — "Innocent Eyes." A
musical comedy-revue of extreme sophisti-
cation. Lively and swiftly-moving.
ON TOUR
"Abie's Irish Rose." An amusing study
in temperaments. Second company.
"Artists and Models." Second company.
"Blossom Time." A musical comedy
based on the life of Franz Schubert.
"Dew Drop Inn." Wherein a black-
faced comedian leads the musical show.
"George White's Scandals." A de luxe
edition.
"Good Morning, Dearie." Entertaining
musical comedy.
"Greenwich Village Follies." Musical
revue.
"Helen of Troy, New York." A good
musical comedy.
"Icebound." A dramatic study of New
England life.
"Lady in Ermine." A musical comedy
concerning a romantic legend.
"A Lesson in Love." An emotional
comedy-drama.
"Lightnin'." The comedy that Frank
Bacon made famous.
"Little Jessie James." A lively and en-
tertaining musical comedy.
' Loyalties," a Galsworthy play with an
English cast — the story of Semitic conflict.
"Magnolia," a Booth Tarkington comedy.
"Merton of the Movies." About a self-
visualized movie hero.
"Shuffle Along." A Xegro revue.
"The Bat." The Hopwood - Rinehart
mystery play of record run.
"The Business Widow." A comedy
from the German.
"The Changelings." A comedy.
"The Dancers." An old-time British
melodrama.
"The Dancing Girl." Song and dance.
"The Fool," a drama about a minister
who tries to follow the life of Christ in
modern locale.
"The Gingham Girl." Good comedy and
better music.
"The Good Old Days," a prohibition
divertissement.
"The Nervous Wreck," an Owen Davis
farce. Second company.
"The Perfect Fool." Edwin Wynn
making it perfect.
"Thumbs Down." A somewhat wild
but amusing mystery play.
"Topics of 1923." A spectacular revue
with the French comedienne, Alice Delysia.
"Up the Ladder," a drama concerning
the newly married and their extravagance.
"Two Fellows and a Girl," typical Cohan
comedy -drama.
"Wildflower," which has a delightful
musical score. Second company.
(Eight)
;**-
19
WILLIAM FOX^
UN EX C E L L E D
ENTERTAINMENTS T
for
1924-1925
A
T
AND ABOVE ALL
DON'T MISS THESE ^
5 SUPER
PHOTOPLAYS
THE MAN WHO
CAME BACK
Jules Eokert Goodman's
play from novel by John
Fleming Wilson
An Emmett Flynn
production
THE FOOL *
From Channing Pollock's
stage triumph of the same
name
A Harry Millarde
production
DANTE'S INFERNO
A modern version of the
classic
A Henry Otto production
THE DANCERS
From stage play by
Gerald du Maurier and
Viola Tree
An Emmett Flynn
production
HUNTING
WILD ANIMALS
IN HOLLYWOOD
A thrilling Comedy
Melodrama
A Thomas Buckingham
§
production
<tf
Watch For Your Theatre's Announcement of These
26 Special Screen Plays
THE PAINTED LADY
\ i i in. n
GERALD CRANSTON'S
LADY
From tin- novel by Gilbert Frankau
An Emmett Flynn production
TOM MIX in
OH, YOU TONY!
A sizzling Melodrama
A J, G. Blyatone production
DAUGHTERS OF
THE NIGHT
Secrets and perils of the
telephone firl
An Elmer Clifton production
TOM MIX in TEETH
A red-blooded Drama with
Duke, the dog, and Tony, the horse
A J. (1. Blystone production
THE CYCLONE RIDER
Lincoln J. Carter's latest thriller
A Thomas Buckingham production
TOM MIX in
DICK TURPIN
A thrilling adventure romance
A John Conway production
THE WARRENS OF
VIRGINIA
David Belasco'e stage triumph
An Elmer Clifton production
TOM MIX in RIDERS
OF THE PURPLE SAGE
With Tony, the Wonder Horse
Zanc Grey's best seller
A Lynn Reynolds production
THORNS OF PASSION
Adapted from "The Roughneck"
by Robert W. Service
A John Conway production
TOM MIX and TONY in
THE RAINBOW TRAIL
Zane Grey's Western Drama
A Lynn Reynolds production
TOM MIX in THE
DEADWOOD COACH
With Tony, the Wonder Horse
From Clarence E. Mulford's novel
"The Orphan"
A John Conway production
EVERYMAN'S WIFE
An I
TOM MIX in THE
LAST OF THE DUANES
Z.i:.: i .11 i!i Drama, with
Ton] . tin- winder horse
A L> nn Reynolds produi tion
IT IS THE LAW
A m>Mrr\ Drama that swept
A J. Gordon Edwards production
FLAMES OF DESIRE
Adapted from 1 1 Strathmore"
A Denison (lift production
HEARTS OF OAK
Janus A Heme's celebrated Melodrama
A John Ford production
THE LAST MAN
ON EARTH
A fantastic novelty
with 1,000 beautiful girls
A J. G. Hlystone production
GOLD HEELS
Based on "Checkers," by Henry
M. Blossom, Jr.
A Lambert Hillyer production
IN LOVE WITH LOVE
From Comed: Drama by
Vincent Lawrence
A J. G. Blystone production
DARWIN WAS RIGHT
The Human Monkeys in a screen
novelty
A Lewis Seder production
TROUBLES OF A BRIDE
At what age should a girl marry ?
A Thomas Buckingham production
NEPTUNE'S ROMANCE
A fantasy of love, beauty and romance
A Henry Otto production
DAMAGED SOULS
A chapter from life today
A 1 ihn Ford production
THE HUNTED WOMAN
James Oliver Curwood's novel
of the t-reat outdoors
A John Eord product
SHE WOLVES
A storj of Paris
A Maurice Elvey production
^5
A
FOX FILM CORPORATION
WEST 55th STREET NEW YORK
(Nine)
2 The hair is held in "waves"
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A timely aid to beauty
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(Ten)
Vol. XX
No. 2
W. F ?cc!>
BETTY AND EVELYN FRANCISCO
Here is another pretty pair of sisters who ornament the screen. Betty has already
"arrived," and Evelyn is a Mack Sennett beauty, which will eventually mean the
same thing
Miss Faire is an
American girl
with an odd Ori-
ental charm. She
is one of the
several Brewster
Fame and For-
tune Contest girls
who have made
good in pictures.
Her current film
is the wonderful
Conan Doyle
story, "The Lost
World," which
First National,
Inc., is screening
Rail
VIRGINIA BROWN FAIRE
Waxman
CARMEL MYERS
The lovely Carmel is commuting these days
between Germany and Italy miraculously,
managing to make a picture in either country;
"Garragan" for Germany, and "Ben Hur" in
Italy. At least, as we go to press, she was
still in the "Ben Hur" cast
!
Waxman
Fox's pretty popular starlet has just finished
making "The Great Diamond Mystery," and
is plunging gaily into the scramble to be called
"Her Husband's Wives." Bet he wishes they
were all Shirley! Any husband would, for one
cant have too much of a good thing
SHIRLEY MASON
VN axman
JACK PICKFORD
Who represents the sartorial perfection of Holly-
wood and New York. His next film will be "Her
Son." We cant help wondering why his wife,
Marilynn Miller, doesn't star with him
Above: Getting a closeup in motion.
Jacqueline Logan and Malcolm McGregor
Above: Altho it looks dangerous, it isn't.
The scene was shot down a hill
Where Was
By DOROTHY
AX English actress who has played a lifetime of successful
roles on the speaking stage was persuaded to take a part
L in a motion picture. Her contempt for the proceedings
grew during her first morning's work at the studio and when
the director shouted to her not to look at the camera it found
most forceful vent.
"Look at the camera !" shrieked the outraged actress, "why,
my good man, I dont even know where the thing is I"
Something of the poor woman's bewilderment fills the mind
of the picture fan who watches a troop of horsemen gallop
straight out of the screen toward him. or finds himself peering
into an eagle's nest perched on a dizzy crag. Where, oh, where
is the camera ? It seems to be able to go everywhere, and see
everything — sometimes, indeed, it reveals to us intimate scenes
which convict it of peering thru keyholes !
When Rod La Rocque was whirled on a seething rip tide
toward the rocks in the "Ten Commandments." where was the
camera? When Dorothy Devore, the feminine gender of
Harold Lloyd, hangs by one hand from the tenth story of an
office building, what is the cameraman who catches her plight
doing ? And when Douglas McLean in "The Yankee Consul"
gazes at us over the railing of the top deck of an ocean steam-
ship, is our mental picture of a photographer suspended by
one hand from an aeroplane while he cranks his machine with
the other the correct explanation ?
The eye of the camera is only one-eighth of an inch in
diameter. Yet into this tiny opening millions of dollars are
poured every year, thru this Cyclops eye pass French
Revolutionary mobs with thousands of extras, and closeups
of a single face, exteriors showing the restless horizons of the
sea or the skyline of a city, and interiors of a de Millionaire
bathroom, speeding automobiles and peregrinating snails. The
exodus of a race, and the passage of the Red Sea in "The
Ten Commandments," came to us thru the same camera-
eye that recorded the humble supper^table in the
second half of the picture.
The secret of these widely different shots lies
in the camera angle, the position from
which they were taken. There used to
be a saying to the effect that a camera
doesn't lie. Dont you believe it ! The
modern movie machine makes Ananias
a piker by comparison and Mun-
chausen's record look as spotless as
George Washington's. For instance,
the camera tells you — doesn't it? —
that these children in an "Our Gang"
comedy are in deadly peril of falling
at any moment some twenty stories to
Above: Leatrice Joy was followed
to the top of this structure by the
Ackley camera
Above: By the
clever angle at
which this was
shot, the on-
looker is made
to feel he is
listening, too.
Right : King
Vidor and his
cameraman,
Charles von
Enger, getting
the wheels of
a speeding car
(Sixteen)
The Camera?
donnell
the street below, while, a-- a matter of fact, the) are just as safe
as tho they were in their own little beddy byes. The plank
on which they are so dizzily balanced is only a few feet from
the top of a hillside, and the camera has simply shot the scene
at an angle which doesn't show the ground and does show the
street far below at the bottom ^\ the hill.
As for the incredibly beautiful beings who people the silver
in well, of course, the stars are a nice-looking lot of hoys
and ^irls, hut at that the camera tells a few polite fibs ahout some
of them. It can make an ordinary every -day actor into an
Adonis and a girl with features of Celtic architecture look as
tireek as Mrs. Menelaus oi Tl
What the camera sees and shows us on the screen, is not what
the cameraman sees. The human eye has a wider range of
vision than the lens but it can focus on only one* point at a time.
Thus the cameraman who shot the magic-carpet scene in "The
Thief of Bagdad" saw not only the seething crowd of three
thousand extras in the market square of an Eastern dream city
which the camera saw, but the board fence where tourists from
Keokuk were getting splinters in their noses trying to peek
thru, the hot-dog wagons on the outskirts of Bagdad and
the chewing-gum signs and radio masts on the roofs of the
apartment houses beyond. On the other hand, he saw only a
few faces in the crowd distinctly while the camera saw every-
thing with equal clearness.
If the motion-picture camera couldn't do things impossible to
human eyesight, there would be no motion pictures. It must
be able to depict the emotions on the face of a man standing on
the farther side of a deep chasm, to follow a speeding auto so
swiftly that its occupants are plainly visible, to get above
people's heads and see around them — in short, it must possess
the powers of a telescope, magnifying glass, X-Ray machine,
and an old maid's spy-glass at one and the same time.
The increased flexibility of the camera angle is perhaps the
most important advance in cinema taking since the
days when screen husbands turned erring wives
into the driving snow with a stern semaphore
gesture of the arm, screen villains struggled *MK
with the heroines until their hair came
virtuously down, and screen comedians
sat down suddenly on a screen banana,
all within a carefully chalk-marked
triangle with the camera as its apex.
Film wives still stagger thru the snow,
film comedians still heave the same
kind of pies that mother used to throw,
but the camera is no longer on the floor
in front of them. It may be peeking
Lady Teazlingly from behind a screen,
This scene from "Babbitt" is a natural eye-
level angle, very intimate all around
Above: An elaborate device for taking a
man at the wheel of a car
Above: Here
the camera
was lashed to
the topmast
of a sailing
vessel in Los
Angeles har-
bor. Left: To
get these
charging
horses, the
camera was
buried in an
underground
dugout
Above: We give up guessing
where the camera was Tor this
scene in "Law Against Law"
(Seventeen)
CLASSIC
the angle from which a human being would be likely to see the
same scene in real life and not from a distorted position as
tho the onlooker were perched on the chandelier or draped on
the picture molding. The audience is added to the cast of
characters. Step right up onto the screen, Ladeez and Gen'le-
men! Meet Mist* McTeague and th' wife and make yourselves
at home !
In one scene in "Greed" you sit with the McTeagues and
their gabby friend Marcus as one of the group, while a slight
change in the camera angle would make you an eavesdropping
outsider. In another scene where an old woman presses her ear
to the wall in order' to overhear what is being said in the next
room you feel an actual sensation of ear strain, so close does the
camera bring you to the wall !
"A Woman of Paris" leads the
spectator onto the screen first by a
long shot of a house, then a closer
view of the same house with the
heroine's face looking out of an
upper window, and
Below: Here the camera
is raised thirty feet above
the mob to include several
thousand people in the
angle of vision
Above: An odd camera angle
was required for this monster
shadow. It is not the shadow of
the man present in the picture
snooping up thru a knot-hole in
the floor or slung from the ceiling.
As the average man can tell the
make of a car with a single knowl-
edgeable glance, as the scofflaw can
distinguish Bourbon from bootleg
with the first sip, so the seasoned
movie fan can name the director of
a picture when it first flashes on the
screen. And it is the difference in
their uses of the camera angle more
than anything else which gives per-
sonality to pictures. William de
Mille is more interested in his
characters than their setting, while
his brother Cecil shoots his scenes
from the audience angle, never
losing sight of their effect as a pic-
ture. Griffith alternates long shots
with closeups and George
Melford works from the
story angle, and in order
to catch interesting and
revealing bits of action
takes his camera right
onto the set and
eavesdrops on what
is going on from be-
hind the piano or
thru the shower-bath
curtains. One direc-
tor, perhaps, has a
penchant for close-
ups and so we have
enormous glycerine tears
the size of marbles rolling
down the giant cheeks" of
beauty in distress, another
likes wide angles with solitary
horsemen on the horizon, while still another treats the
onlooker to such intimate viewpoints that he has the
uncomfortable sensation of having opened the wrong
door by mistake.
In "Greed." von Stroheim. the celluloid Bernard Shaw,
has taken a motion picture entirely from a "practical"
angle for the first time. By this, he explains, he means
last of all he is
brought inside the
room with her. This
is a familiar use of
the camera angle,
but there are no such
rapid alterations of
distance in "Greed,"
during the course of
a single episode. It
leaves an audience
mentally breathless,
von Stroheim
claims, to approach
within three feet of
something, then in-
stantly to dash back
a couple of blocks
and the next moment
pounce to another
viewpoint like a
restless kangaroo
afflicted with Saint
Vitus' Dance.
If you are one of
those who hoist an
opera-glass at emo-
tional moments in a
(Cont'd on page 90)
Left: The closeup is the screen's substitute for opera-
glasses. Below: The only way to get faces in a crowd
is to shoot from above
/'Eighteen)
G. Eder
Albertina Rasch
One time premiere danseuse of the Imperial Opera of Vienna, this famous dancer
is now in this country interpreting her art. She is a stern and relentless maitresse de
ballet, and the men and women of her ensemble betray an effortless technique no
less perfect than her own. She recently danced a few feet of film in "Virtuous Liars"
(Ninetten)
Jetta and Her
Temperament
White
NOT since Pola Negri arrived from Germany with her five-
carat diamond has Hollywood had such a thrill.
The lady's name is Jetta Goudal. She looks like a
beautiful Cossack. She looks like an Oriental princess. She
looks like . . . well, whatever it is that has changing hazel eyes
that slant at the corners ; that slumber and drowse ; then blaze
with fires.
But Jetta insists that she is none of these thrilling and excit-
ing things. She says she is just French.
She came here from New York to play a vampish role in
"Open All Night," which is being filmed at the Lasky studio.
By
HARRY CARR
Elle Est Francaise,
Mais Oui ! Et Ce
N'Est Pas Tout!
White
Above is Jetta Goudal in the
fascinating role of La Pilar
in "The Bright Shawl," in
which she first attracted the
attention of the critics. At
the top of the page, a late
portrait and left, with Paul
Bern, who directed her in
"Open All Night"
(Twenty)
CLASSIC
In addition to the Holl) wood advent
of tht- beauteous Jetta, tin- picture ia
ible in some othei w ays it is the
■ independent free-lance engagement
i I tana since she \ oluntanly re
nounced stardom; it is the first picture to
Ik- directed bj Paul Bern, the brilliant
u io hi iter recentl) promoted to a
gaphone ; the scenario is the work ot
Willis Goldbeck and is said to be the
ript evei written in Hollywood.
altogether, Jetta has stepped into fast
company.
In hoarse stage whispers, Hollywood
anged the information that she is
in be the most temperamental actress
that has ever been on the screen. \\ hen
you ask Jetta about this, her eyes wander
up and down your personality; then they
half close and she says with a tired little
smile that she isn't temperamental at all ;
she just has her own ideas about things.
She says otherwise she never would
been here in America at all.
You see it was this way. When the
war broke out, Jetta was a very young
sixteen or seventeen.
But she was engaged to be married.
Her fiance was a lieutenant in the French
f. He was wounded in the very first
gement of his regiment. They re-
d him in a hospital as well as they
could and detailed him to special work
in connection with the diplomatic corps.
This kept him galloping from one allied
country to another, so Jetta never saw
him. She worked for a while with the
Belgian refugees. Then she couldn't
stand it any longer. It was too harrow-
ing. She decided to come to America.
Here was where Jetta's far-famed tem-
perament began to function. They told
her she couldn't possibly get a passport in
lest than three weeks.
Edward Bower Hesser
White
Just now this fascinating foreigner is one of the vamps
in Valentino's picture, "The Sainted Devil." Harry Carr
says of her: She has the French instinct for gesture and
the French adroitness of suggestion
"There's a steamer sailing tomorrow and I am going to be
on board," she said.
"There aren't any berths," they faltered.
"I'll have one," she told them. And she showed me the
way she looked at the offending French officials. If Germany
had attacked suddenly while the French Government was
still quailing under that look, the Kaiser would right now be
collecting taxes in Paris.
"When the boat sailed," says Jetta, "1 was on board and I
had a berth."
She said she didn't want to act over here. She just wanted
to hide and forget. But somebody was always dragging her
out of her solitude and making her act. So, if she was tem-
peramental, it was because she didn't want to. anyhow.
She appeared in the "Bright Shawl"' and "The Green
Goddess" and on the stage in "Simon Called Peter"; and now
she has come to Hollywood.
"They always give me parts where I have to be drunk," she
said the day she struck Hollywood. "I hope they give me a
(Continued on page 78)
(Twenty one)
Some
Costume
Caricatures
By
VICTOR De PAUW
Above is Valentino in his double role of
aristocrat and barber in "Monsieur Beau-
caire." Right are three characterizations of
Milton Sills in the manly role of The Sea
Hawk; this picture is still filling a big New
York theater daily, by the way
Left is George
Walsh when he
was making "Ben
Hut," Mary Pick-
ford as Mistress
Dorothy in
"Dorothy Vernon
of Haddon Hall,"
and Ernest Tor-
rence in "The
Sideshow Of
Life." It looks
as tho Mary was
telling George to
"cheer up, the
worst is yet to
cornel"
(Twenty-two)
-
Cleopatra
FAMOUS
HEROINES
NO. XIII
POSED BY
JANE COWL
This Queen of Egypt
is perhaps the most
famous woman that
ever lived. The world's
greatest poets, musi-
cians, artists, scholars
and soldiers have vari-
ously sung, painted,
written, and waged
wars in her praises.
She had not only
fabulous beauty and
what is now known as
"sex appeal" but con-
siderable mental en-
dowment as well. It
was her pleasant cus-
tom to give one
glorious night to her
lovers, then have them
thrown into the Nil* to
the crocodiles. She died
by putting a poisonous
asp to her bosom and
with her ended the
dynasty of the Ptole-
mies, and Egypt be-
came a Roman province
Mura»
(Twenty-three)
.._.
The Drama's Pousse-Cafe
Classic's Monthly Department of the Vaudeville Stage
White
Across the top of the page
is a row of the "incredibly
rhythmic" Tiller Girls, as
Percy Hammond calls them.
This group is the "Sunshine
Girls," late of "Stepping
Stones" and now in the two-
a-day. It affords everlasting
interest to see sixteen girls
move as one, for that is the
way. these English dancing
girls are taught. They move
together in perfect time with
the precision of a machine.
Charles Snyder
Henry Hull, another stage and
screen star, is "revueing" in
vaudeville with Edna Hibbard.
Theirs is a two-scene playlet
called "Five Minutes From
the Station"
Left and right are
Paul McCullogh and
Bobby Clark, late of
"The Music Box
Revue," who are add-
ing to the harmless
gaiety of nations by
their comic skits, "The
Interview," and "The
Bath Between." They
are reported to be
funnier than Gallagher
and Shean
A great many vaudevillian
rumors are rife around Times
Square. One is that Elsie
Janis will be back this
winter on the Orpheum cir-
cuit at $3,500.00 a week and
Mother Janis' car-fare. An-
other is that Florence Wal-
ton and Leon Leitrim will
dance at the Palace; that
Charles Foy, son of Eddie,
will do an act; that Beryl
Mercer, Frank Mayo and
Jacob Ben-Ami will also
Charles Snyde
(Twenty- four)
Pictures
and
Gossip
Gathered
Around
Longacre
Square
and
Tin Pan
Alley
Above is Bird Millman, "the
Little Queen of the Wire,"
who is undoubtedly pre-
eminent in her entertainment.
After an absence of several
years, in the circus, "Zieg-
feld," and "Greenwich Village
Follies," she and her silver
wire are back in vaudeville
Below is Adele Rowland, the
wife of our own Conway
Tearle, who has taken a little
flier in vaudeville. Her turn
is called "Story Songs"
Melbourne Simrr
Above is the greatest female
impersonator of them all,
Julian Eltinge, who is billed
as "America's Foremost De-
lineator of Feminine Char-
acterizations," and who has
quite a repertoire of acts for
his brief vaudeville tour.
Back to his first love, for a
while, anyway
Below is Pauline Lord of
"Anna Christie" fame, who
makes her two-a-day debut
in a tabloid drama called
"For Five Thousand Dollars"
J. H. Connolly
Here on the same page
with America's Fore-
most Delineator of,
etc., is "A m e r i c a ' s
Greatest Male Im-
personator," Kitty
Donner, who is also at
home in musical
comedy or vaudeville.
Her skit is called
"Twenty Minutes in
Paris." She is a top-
hole dancer and wears
evening clothes better
than most men
National
(Twenty-five)
Hori
La Habanera
Especially posed for Classic by Fokina, the talented wife of Michel Fokine
(Twenty-sis)
K-The Unknown
Written in Short-Story Form by Patricia Cork I)i <,an
C
11 \K1 OTTE
TOWN was a
little town. It
didn't even aspire
tn he a big town.
It had a substan-
tial, settled,
matronly sort of
air that p r o -
claimed a placid
satisfaction in it-
self. Contentment
hrooded upon it.
Not for Charlotte-
town the hectic
rush, the mad
clamor, the eager
thirst for this, that.
and the other that
characterized great
cities. Its concerns
were little con-
cerns, its lives
serene.
Not that Char-
lottetown lacked
excitement. Oh,
no. There was al-
ways Sidney Page
and Slim and Joe
to speculate about.
Since her gram-
mar school days
Slim and Joe had
been courting Sidney, and no
one ever knew which was
ahead in this amatory mara-
thon. For that matter, neither did Sidney. That is, she
really never thought seriously of marrying either one of
them, altho the announcement of this fact to both young
swains served only to redouble their efforts.
The truth is, Sidney had suddenly begun to take life
seriously. Being the belle of a small town was pleasant
in its way but hardly absorbing enough for a lifetime.
Sidney had decided to go to work. Charlottetown buzzed
with the news and was relieved when it was discovered
that she had taken up nursing at St. Luke's Hospital.
This was by all Charlottetown standards, at least "gen-
teel," and the village breathed calmly once more, giving
its interest to the mad exploits of Slim and Joe trying to
get sick or hurt enough to be sent to the hospital. Finally
Slim did manage to get himself appallingly disfigured with
poison oak and he was turned over to Sidney to nurse. It
was an inimical triumph, however, because by that time
Sidney had another pair of suitors hot upon her heels.
Dr. Max Wilson, "Doctor Max," as everyone called
him. had just been put in charge of the hospital. He was
new in Charlottetown and therefore mildly exciting to
the inhabitants. Thev wondered collectivelv and individ-
">
It was a page from Mary Blum's chart and underneath
Mary's fever zigzag it said: "Ice pack; drops every two
hours; light diet: broth, cereals, etc.; I love you"
uallv about this
arlotta person"
who arrived with
him. She was said
to be his private
nurse and a purely
professional un-
derstanding was
reported to exist
between them ; but
Charlottetown ele-
vated its several
e y e b r o w s, ex-
amined the lady,
and just didn't be-
lieve it was alto-
get h e r profes-
sional. Neither did
they quite believe
it in the hospital.
In fact, no one
really credited it
but Sidney who
liked Doctor Max
from the start, and
who was quite sure
that Doctor Max
liked her. Indeed
she had the proof
of it right with
her, folded up in-
side the front of
her stiff . starched
waist, where it
crackled with pleasant re-
assurance from time to time.
It was a page torn from
Mary Blum's chart and underneath Mary's fever zigzag
it said in Doctor Max's quick nervous handwriting: 'Tee
pack; drops every two hours; light diet: broth, cereals,
etc. ; I love you." Thereafter, the frequency with which
Sidney consulted charts to make sure of— er proper direc-
tions, was commendably regular. Sidney was very happy
and she made her patients happy — and well, which was
more important.
In the nurses' restroom one day, Carlotta, who was
head nurse, waited for Max Wilson to come to her. She
caught him as he walked by the door, hat in hand, and
with a coat over his arm. It was Sidney Page's coat.
"Oh. Max!" cried Carlotta. "it's such a hot day. wont
you take me for a little ride ?''
"Cant do it. Carlotta." the man answered hurriedly. "I
have a call to make "
"On Sidney Page, I suppose," angrily retorted Carlotta
and her habitual restraint gave way. "You're with her all
the time — everybody is talking about it. What did you
bring me here for, to flaunt that girl in my face? You
owe something to me, Max Wilson, and you're going to
pay it. Do you think after I've given you my whole life
I
(Twenty-seven)
CLASSIC
— everything a woman can give — that I'm going to see it
thrown away for a miserable little upstart. You have
no right *'
"Calm down, Carlotta," interrupted the man a little
anxiously, for Carlotta's voice rose with each accusation,
"I have a right to do exactly as I please. I'm not mar-
ried to you "
"Oh, dear God," moaned the woman, "you said you
wanted to — you said you would marry me as soon as your
practice was assured. You said "
But Max had gone and a girl snuggled down content-
edly at his side, in his big
red car and said shyly,
"You're so good, Max, no
wonder the nurses all love
you and your patients adore
you. I dont see how you
can love only me."
"That's the easiest thing
I do, honey," answered the
man, for once in his life
telling the absolute truth.
"You are the only woman
K— THE UNKNOWN
Fictionized by permission from Universal's screen
presentation of Mary Roberts Rinehart's novel
"K." Directed by Harry Pollard. The cast:
Sidney Page Virginia Valli
"K." Le Moyne Percy Marmont
Carlotta Harrison Margarita Pollard
George "Slim" Benson Francis Feeney
Dr. Max Wilson John Roche
Joe Drummond Maurice Ryan
The doctor dropped untidily to the
floor and slipped in a ghastly comic
sprawl down the stairs, "You dirty
cad!" screamed Joe, mad with excite-
ment and terror. "You dirty cad — to
treat a decent girl so!" "Never mind
that, young man," said the proprietor,
"just come along with me"
in the world for me, that ever will be
or ever has been," he added in his
more habitual manner, and Sidney
was content.
"I was told at the station," said
the gentlest of voices to Mrs. Page
as she stood in her doorway regard-
ing the man before her, "that I could
perhaps rent a room here. You have
such a pretty yard and such a pleas-
ant faced house — I'd like to live
here "
Mrs. Page hesitated. She knew,
of course, the hazards of taking in
strange men, but this one looked so
kind, so clean and kind, and so tired.
His clothes, altho they needed press-
ing, were not the sort one got from
the local tailors, she recognized that.
A fine piece of cloth, too. He had
white, firm-looking hands, an artist's
or a surgeon's ; delicate, skilful-look-
ing hands that bespoke breeding as
well as ability. Besides. Sidney s ap-
prenticeship in the hospital was tak-
ing money out and not adding to the
slender family purse. She consid-
ered another moment.
"I'll pay in advance," said the man,
feeling her distrust.
"Oh, it isn't that," answered Mrs.
Page. "It's nothing, really. Come
in. I'll show you a room."
"My name is " he hesitated the
fraction of a second, "Le Moyne
K. Le Moyne," and followed her into
the house.
For three weeks Charlottetown
was occupied with the stranger.
Where had he come from and why ? What was he doing,
or going to do in Charlottetown? Dr. Max could be
accounted for, one knew a number of things about him ;
but one knew absolutely nothing of this "K. Le Moyne"
beside the fact that he kept to himself, seldom straying
beyond Mrs. Page's garden, speaking to no one. volun-
teering nothing. Mrs. Page hotly defended him as she
was called upon to do several times. Aside from the
exemplary habit of paying the rent in advance, he kept her
garden like a professional — was tidier about his room
than any man she ever saw — no more trouble than no one
— never asked for a thing
— never intruded — was
gentle as a lamb with the
children and strong as an
ox for work. . No, he never
told her anything about
himself — she wouldn't ask
—anyone could see he was
a gentleman W'hen
Sidney came home on her
leave, she'd be glad to have
her daughter know him.
(Twenty-eight)
CLASSIC
When Sidney did come home the next time, it was to
•nay. Something terrible had happened at the hospital
and the long-looked-for leave was lengthened indefinitely
— or it would have been if Doctor Max hadn't interfered.
A heart-broken and tearful girl sobbed out her story to
her mother.
"You know, mother," Sidney told her, "Slim was get-
ting better Max Doctor Max said I had done
wonderfully and then I was ordered to increase his dose
— I thought it seemed a lot, but you know we're not sup-
posed to think under orders and — and he got
so sick — nearly died — if Max — Doc
tor Max hadn't acted promptly
he would have died. Oh,
he was wonderful,
mother." Sidney
hugged her mother
ecstatically, forget-
ting her grief in
admiration of her
adored doctor.
"And then," she
Above:
"Gentlemen,"
she said a
few breathless
minutes later,
standing with
K before an
astonished
group of phy-
sicians, "here
is a surgeon
who can save
the life of our
Doctor Max.
I will stake
my life on
that. He must
be allowed to
operate at
once"
went on. "when they investigated they discovered I had
given the dose — but mother, you believe me — I had orders
and when I went to find the order blank on my desk it
was gone, tho, of course, I keep all instructions. I cant
understand it. Max has been so sweet, mother, I wish
you liked him a little more. He says he'll get me back-
in a month or two."
"I hope so, dearie," answered her mother. "It isn't that
I dont like your Doctor Max — it is just that I feel I
couldn't trust him, but probably it's just an old woman's
notion. Now, wait until you meet Mr.
Le Moyne— K."
Sidney didn't like the idea of
a roomer. She really was
hurt and stunned by
her suspension from
the hospital and she
wanted to be alone.
However, as the
days went by, she
could not fail to re-
spond to the man's
Left: "I alone
am responsible
for the death
of Dr. Ed-
wardcs' pa-
tients. I did
it so that Max
Wilson would
get his place
on the staff of
Flower Hos-
pital. I loved
him so — I
loved him so
— he said he'd
marry me
when he got
on the staff"
(Twenty-nine)
CLASSIC
quick sympathy and his sensitive understanding. They
got to know each other rather well ; that is, Sidney knew
how K's mind worked and the way he reacted to certain
things, and the way his hair grew rakishly up over one
eye, and the proud way he held his head, and the odd little
trick of halting his speech right in the middle to smile at
her, and the quick electric touch of his hands, and many
little things like that she learned, but of his former home
or activities never a thing was hinted.
Max called her up every day, but he thought it better
not to go there until the affair had blown over. Slim was
out of the hospital, and he and Joe, still undaunted, clung
to their hopes of Sidney. Once Sidney turned 'from the
telephone to see K looking at her rather oddly, almost
absently. She misunderstood the look. "I suppose," she
said, "that you thought that was a pretty affectionate
conversation. But, you see, I was talking to my fiance —
Dr. Max Wilson."
"Wilson — Wilson," repeated K, a little stupidly. Sidney
thought. His lips tightened and his eyes closed almost
involuntarily as if to shut out a horrid sight. Sidney
stared at him wonderingly.
"I hope," the man said, quietly recovering himself,
"that you will be very happy — my — my dear."
Sidney didn't exactly like the way he said "my dear."
Or, rather she did like it. It kept repeating itself in her
ears all the rest of the evening, "my — dear," so soft, so
hesitating, but so
decided, some-
how. "My — clear
. . . my dear. . . ."
At the end of
three months the
stranger and Sid-
ney were "K"
and "Sid" to each
other, but neither
really knew how
each had filled
the other's heart.
Only Sidney felt
an odd tugging at
her heart when
one day Dr. Max
telephoned that
he was coming to
take her back to
the hospital. She
was standing
with K in the
garden when the
big red car drove
up and Max
cleared the drive
in one bound.
"Sidney — sweet-
heart !" he cried
and drew the girl
to him. Over the
top of her head
he s a w K. A
curious look came into the
eyes of both men, but neither
said a word.
"This is Dr. Max, K," Sidney cried gaily, "and this is
K. Max. I want "
"I am acquainted with the — ah — gentleman," answered
Max surprisingly.
K raised his hand almost involuntarily.
"Never mind," spoke up Max with malicious good
nature, "I wont notify the police "
"What do you mean?" cried Sidney helplessly. "I dont
understand K — explain — cant you ?"
The first thing Dr. Edwardes did after his public ex-
oneration was get into trouble again — at least some
folks call it trouble. What he did was get married
But the man stood silent before her and Max gentlv
led the dazed girl to his car.
K's unhappy reverie was interrupted by the arrival of
a much-excited Joe Drummond. "She's gone back to the
hospital with that crook," he yelled.
"Yes, I know," answered K. "He isn't a crook.
There's nothing we can do about it."
"Oh, yes there is," retorted the boy angrily. "I hap-
pen to know he's going to Schwitters tonight with some
dame from the hospital — they lived together before thev
came here — I'm going to get the dope and give it to Sid-
ney straight — she wont marry me, but by God, I cant see
her marry a dirty cad that will break her heart !"
Carlotta was making one last desperate effort to keep
Max. He had picked her up again during Sidney's
absence almost as tho there had not been any indifferent
interlude. Poor, deluded Carlotta believed he had come
back to stay. She would get sick at Schwitters and. pre-
tend to faint. Max would be a little drunk. They'd have
to get a room — a dozen desperate expedients occurred to
her, but she would be governed by the moment. Poor
Carlotta !
It was a wild ride Joe and K took following the pair
from road-house to road.-house. They couldn't recognize
the girl, and Joe finally decided that it was Sidney.
Whereupon K firmly refused to follow, feeling that after
all it was her right to go where she pleased with the man
she was going to
marry. Joe, how-
ever, had worked
himself up to a
fever heat and
with some half-
formed quixotic
notion of protect-
ing Sidney was
right behind Doc-
tor Max and the
woman as they
entered Schwit-
ters.
"Oh, Max,"
said Carlotta ex-
pectantly as they
took their seats
in a shaded
alcove, "you do
love me, dont
you?"
"Sure," an-
swered the man
without looking
at her, and the
lack of conviction
in his tone regis-
tered even with
a woman who
wanted desper-
ately not to feel
it.
Carlotta ran
her hands thru her hair a
little wildly. Tiny beads of
perspiration stood out on her
forehead. She really did feel sick. "Oh, Max," she said
again, "I'm ill— I feel— faint."
Carlotta had seen too many women faint not to know
how to do it properly. With visible annoyance Doctor
Max picked her up and carried her upstairs to a hastily
requisitioned room, from which an excited management
was with difficulty expelled.
From the details of the sordid ugly bitter quarrel that
(Continued on page 80)
(Thirty)
"Great Britain's Queen of Happiness"'
Who Wins a Popularity Contest Every Six Months. How Do You Like Her?
Betty Balfour is England's favorite
screen star, and that means, we hope,
that we'll see her pictures over here
She is under contract to Welsh, Pearson
& Co., in case any of our American
producers want to look her up! Below,
left, is Miss Balfour as she appeared in
"Love, Life and Laughter." Below,
right, in "Squibbs' Honeymoon"
With Ralph Forbes in
"Reveille"
As "Squibbs," the Piccadilly
flower girl
(Thirty-one J
S. M. Cooper,
L. A.
Architect
M. Herbert,
L. A.
Decorator
Blanche Sweet
and
Marshall Neilan
Tone Down
Their Colorful
Personalities
by a
Conventional
Home
It is a little odd that two of the
most arresting and original per-
sonalities in Hollywood should
elect to live in a house just like
other peoples'. You would expect
exotic colors and bizarre hangings
and all sorts of unexpected fea-
tures. But nothing of the sort
obtains here. The home of Mar-
shall Neilan and Blanche Sweet
is quiet, modest, comfortable and
unassuming. The exterior is white
stucco with a red-tiled roof, square
and substantial-looking
Above is the living-
room. The rug is grey
velour, the walls white
damask, and the dra-
peries are soft subdued
colors. Ornaments,
pillows and upholstery
furnish the high lights.
Right are the owners
on their front lawn
with a distinguished
guest, Rebecca West,
the celebrated English
novelist. Mr. and
Mrs. Neilan are at
present in England
(Thirty-two)
Right is a
junshiny
corner of the
reading - room
with Mr. Neil-
jh's desk and
Mrs. Neilan's
chair
This room,
too, has white
walls and grey
velour rugs.
The furniture
it rich old
mahogany
Hollywood Homes— no. xxiv
Above is the
dining-room,
conventional
but charming,
and in perfect
taste
Above is the
informal
b reakfast-
room where
the Neilans
sit and talk
over their
next picture
Right is an-
other favorite
corner flooded
with sunshine
This room is
grey and
green and
white, a pleas-
ant and livable
combination
(Thirty-three)
"Elsie Janis
At Home"
Photographs © by Abbe
Our Elsie isn't really at home, she's over
in London, and that is what she calls her
skit, revue, act, or whatever the thing is.
At any rate, it is one of the three shows in
London that is making money. To date, it
has sold out for every performance. Elsie,
we suppose, feels under some patriotic obli-
gation to do for America what the Chariot
players have done for England. Fair ex-
change is no robbery and all the rest of it
Above is Elsie playing the
piano, we think, but this
fascinating person be-
witches us so completely
that we never really know
what she is doing
Left: The tall gentle-
man supporting Miss
Janis is a "pleasing"
barytone named
Pidgeon and the "ac-
complished" pianist
is named Lester.
They all help in
Elsie's at home.
Upper left: Elsie as
a sort of glorified
costermonger (look
it up in the diction-
ary) with a million
"pearlies." The props
for this show, we are
told on reliable au-
thority, consist of
one grey velvet drop
and two gold pillows
(Thirty-four)
mi
The Romance of the Extra
By ORVILLE CALDWELL
$ ■
WHEN I firsi be-
no to rehearse
tor niv part in
l'hc Miracle." the army
if extras i soldiers,
nonks, nuns, foresters,
ts. ft ill ; wire sini-
mob with no indi-
ity whatever but
ij little as rehearsals went on and then the big spec-
tacle began its run at the Century Theater, inure and more
individuals called themselves to my attention. The
nob of extras one by one became definite personalities to
me and 1 am glad to say many of them have since
e my friends.
In the background
>f each life there
■ dramatic epic
- depicting the age- ^_
ild story of a strug- ,■
de to keep soul and H^IK
ody together. It is
tot my subject to
vrite a "sob sister"
so I am not go-
dwell on heart-
iches and heartbreaks
—they were all there
—but in sketching
;ome of the characters
[ hope they may serve
o prove that one can
lever judge by ap-
pearances.
Many were Rus-
sian refugees who
ame here after Lenin
gained control in
\ussia. One, a splen-
lid old man of aris-
ocratic appearance
tad been a Supreme
lourt Judge in Mos-
"W. He also owned
chain of dairies that
ircumrailroaded all
treat Russia. All
ts wiped out in the
evolution. He is
ij,Thty-six years old
nd speaks eight lan-
:uages. He ekes out
in existence by teach-
ng languages and
acting in "The Mir-
cle."
There are two
'rothers in their earlv
hirties, Russian
■ rinces with a strain of royal blood. They came over
iere with the Russian Commission in 1916, then returned
o Russia where everything was taken from them. Thev
ame back to New York where they sold enough jewels
0 live on for a time, finally went broke, washed dishes in
i restaurant and are now numbered among the extras of
The Miracle." They are both highly educated and fine
(Tkirtyfivt)
Mr. Caldwell confesses that he is an actor not a
writer and asked to have his story edited, but he
has told it in SUCh a straight forward , interesting
manner that we haven't touched a single eomnui. —
The I'.ni roa.
-
fellows '1 bey hop
find enough work on the
itage and icreen to
them going.
\ Russian girl, formerly
a member of the Im;
ballet, is also doing extra
Work, I -ike the Otl '
the revolution drove her
from Russia and she is supporting a father seventy-five
and a mother sixty-six. entirely on her earnings in "The
Miracle," and teaching dancing on the side whenever she
has time.
Another girl is the daughter of the erstwhile owner of
Petrograd'a leading
newspaper. He also
owned a chain of the-
aters in Russia, all of
which were confis-
d by the Bolshevik
government.
There is also a
former Colonel of the
Imperial Guard who
served two years in a
< ierman prison and
another man who was
an impresario on a
par with Belasco.
There were other
Russians but the
above were the most
interesting.
Among these high-
born extras were two
charming women, an
aunt and her niece,
both Roumanian
Princesses who were
descendants of the
Paleologue's. the An-
cient Greek royal
family. The girl is in
hopes of a dramatic
career and the aunt
is with her heart and
soul.
There were also
two French girls, one
a countess, who
taught French, and a
Russian and a Ger-
man girl who each
taught their language
in addition to work-
ing in "The Miracle."
But everyone who
was interesting was
not foreign by any
means. One was a boy who belongs to one of Chicago's
first families. His dramatic career was highly frowned
upon by his family so he struck a bargain with his parents.
They gave him two and a half years to make good on the
stage and if he falls down he must give the next two and
one-half years to his father's business. He is a graduate
(Continued on page 79)
J/. 7, '4-
Orville Caldwell is now in California making pictures, but
New Yorkers will remember him as the beautiful Knight
of "The Miracle," and it was in that extraordinary mob of
extras that he found so much interest and pathos, romance
and heartbreak and gallant conquering of insurmountable
odds. This sketch was made by the mother of Lady Diana
Manners, the Duchess of Rutland
I
^~ i
Muray
Doris Kenyon
This time appears as a poet. Inspired by her work with Valentino in "Monsieur
Beaucaire," and her contact with his wife in the interests of the same picture,
Miss Kenyon, who is a dreamer of lovely lyric verse, wrote the two sonnets on
the opposite page, which we think the most gracious and charming tribute one artist
could pay another and which we are proud and grateful to offer in the pages of
CLASSIC. The sickening cant about professional jealousy must now forfeit its right
to be heard
(Thirty-six)
L
■I
On the Wings
of Song
Two Sonnets
By
DORIS KENYON
Rudolph Valentino
He is the reason for Venetian nights,
Ami low-swung moons and shadows thai
caress.
And all the unsighed sighs and unsung songs
Hidden so deep 'within night's throbbing
breast ;
He is the chant pale slave girls situ/ at
dan
He is the whisper from a lover's tryst;
Xo I 'Won nor a knight of olden times
Had more of romance horn within his soul;
A Shelley nor a Keats could not express
More with his pen that he in pantomime;
The lure of silence just before a storm
Lurks in his slumberous eyes and in his
smile.
Friendly yet strange, familiar yet unknown.
Are memories and unfulfilled desires.
Victor Gcorg
Russell Ball
Mrs. Rudolph Valentino
She is an iris, swaying on its stem.
Poised, cool, elusive, in the evening dusk ;
Her eyes, low-curtained by a veil of mist,
Speak of strange dreams, remembered
yesterday
In some far land — as echoes call again;
The lilt of her proud grace and gentle
tread
Is like a tnusic played on muted strings;
Out of the beauties of an age-old Greece
Was born her mind, reflecting these
today;
Her heart reveals a sheltered garden
close,
Where none may enter save he knows
the key
That turns the magic lock, but once
inside,
Is filled 'with wonder at the rare perfume.
(Thirty seven)
At the top of the page is Doug
in his more habitual manner.
He is demonstrating jiu-jutsu
to a fascinated audience of chil-
dren in the garden of the Hotel
de l'Europe. It seems to de-
light Mary also, tho you'd
think by this time she'd be used
to Douglas
Doug and Mary
Vacationing
AT AIX-LES-BAINS
All Photographs by Abbe
Below is Doug being quiet. The Graflex
caught him resting — a breathless moment —
between leaps and bounds. Left is Mary
in a Lanvin gown in the gardens of their
hotel at Aix-les-Bains
{Thirty-eight >
mm
Abbe
The Siren
As Portrayed in England by Fay Compton
Fay Compton, one of England's better known actresses, has just com-
pleted her long and successful run as the spectacular vampire of the
more-than-spectacular "Hassam." She has accepted a motion-picture
engagement to play Queen Elizabeth, a long step from the fascinating
voluptuary whose naughty career she just finished. When "Hassam" is
produced here in the fall, Mary Nash will have the interesting title-role.
Comstock and Gest appropriately sponsor the spectacle in America
'Thirty-nine)
A Thousand Dollars a Day !
By JIM TULLY
A THOUSAND dollars a day ! There are those who
claim that Jim Cruze receives that much for direct-
ing pictures. No one would think of calling Cruze
James. He is Jimmy to most people. This forty-year-
old ex-vagabond and fisherman is undoubtedly the most
dynamic and vivid personality in pictures. I would call
him the ideal director. Long vigils on fishing vessels
plying Alaskan waters, gruelling rides on freight trains as
a youthful hobo, long days spent traveling over Utah and
Montana deserts with a wagon show, in which months
passed without seeing a
railroad, the descendant
of a long line of Danish-
Americans who trekked
across valley and moun-
tain in covered wagons
and on foot — this man
Cruze was for thirty-
eight years absorbing the
masterpiece which he
later made and called
"The Covered Wagon."
It was my good for-
tune to be down among
men from my twelfth
birthday. One learns
much from such a train-
ing— the most valuable
thing being — to appreci-
ate the genuine because
it is so rare. Jim Cruze
is all man in the highest
sense of that much
abused term.
It is only once in a
while that destiny meets
the man. Napoleon fret-
ting his heart away over
love for a Parisian demi-
monde whom he later
married, was vaulted
into the saddle by Paul Barras
— a lover who was tired of her.
The man whom Josephine
laughingly dubbed her "little
corporal" then dashed away to
fame and fortune as Comman-
der of the Army of Italy. I
should apologize to Jim Cruze
here — he would allow no
Josephine to bother him for
twenty years . . . but when the epic of the West was
ready to be filmed — Cruze was accidentally vaulted into
the saddle by Jesse Lasky, who knows men. Lasky felt
that the job of directing "The Covered Wagon" would
require a man who could obtain the required effects of
distance and primeval backgrounds. Cruze had directed
some pictures which gave evidence of this knowledge,
among them "The Valley of the Giants" — but he was
known principally as a high-class comedy director. Lasky
had faith.
Cruze was born in Ogden, Utah, and left home at fif-
teen to travel with a medicine show. It was during these
days while bumping over yellow leagues of desert that
destiny prepared the boy for the man that was to be.
Out of the vast caldron of life an atom is now and
Heavy shoulders, quick
observing eyes, a dark
complexion, not at all re-
vealing the Scandinavian
background, James Cruze
is a Rabelaisian character
with great gusto and a
fine sense of humor.
Right: Working on the
script of "Merton," his
last picture
then thrown up that is charged with more energy — more
vitality — more tremendous lust for surviving. Cruze
was such an atom.
Heavy shoulders, a restless mentality that pounds at
things, quick observing eyes, a dark complexion, not at
all revealing the Scandinavian background, Cruze is a
Rabelaisian character with gusto and a fine sense of humor.
In other words, he knows what everything is about.
He puts life into films but there is no film over his eyes.
He was just born a thorobred and he cannot be explained.
It is seldom that I meet a man that
I feel instinctively that women would
like — for men are a sorry breed —
but I can imagine how women would
like Jim Cruze — like him for the rea-
son that he is the master always.
For men who lose their hearts to
women, lose the women. House-
keepers for ages — women always
place doormats outside the door. The
real men walk over the doormats
with the dust of life on their feet, and
chant compelling songs in the hearts
of women and lock the doors. Cruze
is that kind of man.
Jim Cruze knocked about the West
with the medicine show for some
time and then tramped about the
country, meeting another chap on the
road who was destined to become
known. The two young hoboes ex-
changed their views on things in gen-
eral and told one another of coun-
tries where sandwiches grew on
bushes and lager flowed
from the hills and then
went on their devious
ways ribald in the joy
of their picturesque
existence. The
other chap's name
was Jack London.
We talked for a
moment of Jack
London. "Jack was
a poseur always.
He died one. He
was a poseur as a
hobo. But he wrote
some damn fine things."
These are Jim's words
about London — no sentimen-
tality, no film over his eyes, just a plain statement.
Cruze became weary of tramping, as smart tramps will,
and became a fisherman. He lived thru tales of death and
disaster, and saw fanatics at prayer being swept into the
sea and oblivion, and battles with whales and the elements
— all too long to record here — but they made Jim Cruze.
We talked a long time. Cruze, the man who carries his
life locked up within him as a strong man will, had met
a fellow rover. His secretary said when the chat wa>
over, "I never knew him to talk so much — what did you
do to him?" "Nothing," I answered. "We're blood
brothers, that's all."
There were certain things about directing I wanted to
(Continued on page 77)
(Forty*
Ball
To Be Or Not To Be—
Back again in pictures, is Mabel Ballin's particular query these days. Every week we
get a different report about Mabel: that her husband is to direct her, that he is not to
direct her; that she is to be a free-lance star, that she is to form her own company,
and so on. Meanwhile, the screen languishes without her quaint, elusive charm. We'll
leave it to you that she should be back
(Forty-one)
Conrad Nagel
CLASSIC'S GALLERY OF HANDSOME MEN— NO. V
Altho Conrad Nagel has been a married man lo, these many years, his youthful
charm never seems to have deserted him. He is undeniably one of the
handsomest of our younger leading men, and one of the most popular as well.
His last picture was "Mrs. Paramour," and his next will be "So This Is
Marriage!" Watch for it
(Forty-two)
i
Who's Who;
On Stage and Screen
c ( landc H*i < is,
BERNARD SHAW
Has had so much written about him that there
is absolutely nothing left to say. This famous
Irish scoffer, author of many subtle, brilliant
and sophisticated plays, has at last written a
play totally unlike any of his others. That
is "Saint Joan," which has just ended its
most successful New York run. It is humble,
beautiful and moving, a drama with a soul.
It is now published in book form by
Brentano's. If you like Shaw, or, dislike him,
get the book
White Studios
JANE MURFIN
Is the owner of Strongheart, distinction enough for
one woman in one lifetime. She has written a
number of successful scenarios; directed and pro-
duced several pictures; collaborated with Jane Cowl
on "Smilin' Through" and one other stage play and
is at present resting on her laurels in Hollywood,
where this picture was taken
W. C. FIELDS
Played on the stage for twenty-six years and never
spoke a line! He was a pantomimist and juggler in
every country on the face of the globe, once jump-
ing from Australia to Syracuse, N. Y., for a one-
night stand only to find when he got there that his
part had been written out! His first speaking part
was in "Poppy" and it was an instant hit. Let us
hope he'll always talk after this
(Forty-three)
The Photographer Takes the Stage
Right is a pretty
pose from the
Japanese music-
d a n c e-d r a m a,
"Ka-Bu-Ki," that
Michio Itow is
producing for the
Threshold Play-
ers. Left to right
they are: Mar-
garet M a n s o n,
Betty Calender
and Marion Robb
Next month
Classic will
have scenes from
all the early fall
openings, a stag-
gering number
of which are
promised. The
new dramatic
season is still in
its experimental
stage and needs
a lot of re-
vamping
Hori
Below are Mr.
and Mrs. Al-
fred Lunt
(Lynn Fon-
tanne) who
are appearing
together for
the first time
in "The
Guardsman,"
by Franz
Molnar, the
Theatre
Guild's first
production
Burke
Apeda
Above are Richard
Sterling and Louise
Closser Hale in "Express-
ing Willie," one of the
few plays to survive the
summer
Abbe
Above is G r o c k, the
famous Swiss clown, who
has been imported for
Selwyn's great interna-
tional revue, the "Rue de
la Paix"
(Forty-four)
THOSE FOUR FUNNY FELLOWS IN "I'LL SAY SHE IS!"
The four Marx Brothers who have conquered New York without a single casualty.
Left to right they are Chico, Groucho, Beppo, Harpo, Leonard, Julius, Herbert and
Arthur respectively
(Forty- five)
The Play of the Month
By KENNETH MACGOWAN
White
CRITICS have certain very entertaining habits. One is
to lay the faults of the newspaper reviews to the fact that
they have to be written in the first forty-five minutes
after the curtain falls. Another Hazlittian habit is for the
critics on the weeklies and monthlies to review the reviews
instead of the plays, to pan the forty-five-minute opinions
of the daily critics instead of panning the play.
In writing about "Abie's Irish Rose" in the year of grace
1924, I naturally escape a lot of the troubles connected with
that habit-forming drug-on-the-market, dramatic criticism.
On the May evening of 1922 when Anne Nichols' play
was exhibited to the pained, but not at all surprised collection
of second-string reviewers, I was watching a chorus of bulky
Berlin damsels coyly pulling a petticoat half an inch above a
Gargantuan ankle while they sang about the naughtiness of a
"Maedel von siebzehn Jahr." If I had been in New York, I
should have revenged myself on the weather and the whole stage by
completely losing patience with the kind of show we have to see ninety-
seven evenings out of one hundred and twenty-one. I should have
declared that "Abie's Irish Rose" was as obvious as a Third Avenue ham
sandwich and about as tasteful.
And — blissfully unable to pene-
trate two years of theatrical
history — I should have declared
that this bit of hokum would
never, never last out the week.
Now this would have been
perfectly all right as a revenge
and an estimate on the level of
Broadway drama. But I would
find it just a little embarrassing
today to read the electric sign
outside the Republic Theater —
"3rd Year." And as for hear-
ing that "Abie's Irish Rose"
had spent fifteen weeks in
Washington, twelve weeks in
Baltimore, seven months in
Pittsburgh, eight months or
more in Cleveland, ten weeks in
Montreal and twice as long in
Toronto, twelve weeks in Co-
lumbus, ten in Atlantic City, and
eighteen nights in Erie, Pennsyl-
vania— the spectacle of going so
(Continued on page 89)
The phenomenon of "Abie's
Irish Rose" is still puzzling
theatrical savants. When it
first appeared nearly three
years ago it was universally
condemned by the critics.
Since then it has earned
more than a million dollars
for its author and producer,
Ann Nichols, pictured below.
Left are Alfred White, Jack
Bertin, Harry Bradley and
Andrew Mack
Apeda
(Forty-six)
The Picture of the Month
Bv LAURENCE HEID
"M=
KNHANDLED" (Paramount) is one of those
r\ rare screen entertainments thai serve to
projecl the entire business of motion picture
production on to a pi. me closely parallel with the artistic,
if indeed, it doesn't project it to the very plane of art
itself. Here is a picture, not new in it-- essentials of plot
tn an) means, that is so humanly told, so truthfully
sketched in characterization, so convincingly acted and
cleverl) presented, that it makes us forgel the un-
deniable fact that sometimes pictures are poor and at
other times very had.
It presents the very simple story of
a girl and a hoy in New York
City. And for the most ^
part it draws accurate _v^
and true pictures
o i c 0 m m on.
every-day types.
In this, indeed,
is its great merit.
Here are char-
acters living and
breathing the
very air of Man-
hattan. They are
not stuffed
p u p p e t s who
jump into activity
thru the manipu-
lated strings of a
director. They
are wholly ani-
mate and alive.
They are truly
the characters of
which scenario
editors beg
amateurs to
write. They are
the people next
door or in the
apartment across
the hall. There
is drama in their
apparently drab
existences. I f
you are a clever
dramatist or
story-teller you
can find it.
Arthur Stringer
found it and
wrote "Man-
handled." You,
who distribute
prizes, step for-
ward.
Mr. Stringer
was fortunate in
that his story fell into thoroly competent hands. Gloria
Swanson is the girl, a department-store worker, and
Tom Moore is the boy, an automobile mechanic. Theirs
is the life of Xew York, of early rising and trips to work
in crowded underground cars, of long, hard days
of labor, and of subway rides back "home" again. Some-
times a chop-suey dinner is thrown in to round off the
day. It is a simple yarn, rather slight of plot — but it is
In "Manhandled," Gloria Swanson sets herself a new record. She
is a brilliant screen comedienne, a quality hitherto unsuspected in
her make-up. She and Tom Moore share the honors as simple,
human, every-day young people of the working class
told so humanly that the picture rises above its talc b\
means of the introduction of 'plaint divert) - m-iii<
Neither Chaplin nor Lloyd has done anything funnier
than Miss Swanson's pictured adventure in the ul.
at rush hour. It is the opening sequence of "Man-
handled" and it carries a gale of laughs. It is burlesqued
slightly, but nol much at that. It ma) seem ridiculoui
eople in cities where there are no subways, but then
so may all New York seem ridiculous,
The story, as said, is utterly simple. While the b
is away exploiting a mechanical invention,
^^^^^^^^ the girl tastes a bit of Broadway life.
.1^1^^ She has left the subway for
od after the first -cene
— a subway in which
^^ the men arc-
heavy to be
young anil too
crowded to be
wealthy. So she
rides on a
cushioned seat in
taxis or private
cars. Well, the
upshot of her
rise from the
department-store
trenches is that
she escapes with-
out harm, but the
escape is close
and at first, when
the boy returns,
he wont believe
her. A 1 1 t h e
gowns are honest,
as she explains
when he comes
back to find them
hanging guiltily
in her wardrobe.
But there are
signs that de-
termine her true
character that he
cannot ignore.
So there is a very-
happy love scene
for the finale.
The scenes be-
t w e e n Miss
Swanson and
Tom Moore are
some of the
prettiest the cel-
luloid has re-
vealed. They re-
in i n d us of
Griffith at his
best. Often these two players are motionless yet their
scenes seem to vibrate with a vital current. They are a
great credit to the players themselves and to Allan Dwan,
who directed the picture. Previously we have associated
Mr. Dwan with unreal stories and similar settings.
Rooms in plain houses have become as enormous as the
Louvre under his evident desire for space. Here he gets
(Continued on page 92)
(Forty-seven)
The Celluloid Critic
REX INGRAM did the only thing possible in filming
"The Arab" (Metro-Goldwyn) — he went to the
Orient to stage it — thus compensating for a story
which has become frayed at the edges thru long and faith-
ful service. The director came back with some striking
photographs. The ornate horizons of the East have
served Ingram's camera as they've never served anyone
else who went overseas to capture
them. Scenically, the picture is hard
to beat. But Edgar Selwyn's play
is stereotyped fictional fare. It
hasn't enough variety of situation,
nor enough dramatic substance to
cope with its backgrounds. And
these are as easy on the eye as the
story is tiresome on the mind.
We will not say that these fine
shots diminish the plot values en-
tirely. But it is really of little con-
sequence and countless serials
which have gone before it — serials
exploiting the same idea — take
away the dramatic sting of show-
ing impending massacres of Chris-
tians by the
Moslems. So
we return to
the back-
grounds and
pronounce
them good.
We also pro-
nounce Ramon
Novarro's per-
formance
good. Except-
ing the pic-
torial quality
of the film, his
work is the
outstanding
feature. He makes the Arab
scornful, insolent and bold,
but a likable fellow for all
of that. His heroism in be-
half of the missionary's
daughter wins him the neces-
sary sympathy. Alice Terry
wearing her own brunette
tresses (the blonde wig hav-
ing been discarded here)
appears as beautiful and
charming as ever. She
brings appeal to a rather in-
consequential role. There
are several foreign actors
whose work is excellent.
The picture will draw
crowds because of its sheik flavor — and the
fact that the names of Novarro and Ingram
carry weight. These crowds wont see much
of a story, but they will see Nature at her
best with her clays and paints.
A scene from "Wine of Youth"
Top of the page:
Mae Bush and sup-
porting players in
"Bread." Above:
Ramon Novarro in
"The Arab"
WILLIAM J. LOCKE'S story, "The Mounte-
bank," which was adapted to the stage last season,
has finally emerged as a Paramount picture under
the colorful title of "The Side Show of Life." It is
treated sympathetically, if with not sufficient feeling — and
serves in registering as a very good film, if not a brilliant
one. It lacks the Locke quaintness, a quality which is
woven in all his stories — and there isn't enough of the
Locke wistfulness and tender humor. But it does hold
you — even grips you at times, principally because of the
gifted pantomime of Ernest Torrence who plays an Eng-
lish buffoon in a French circus.
Circus stories are always senti-
mental— and embroidered with
pathos. And this clown suffers
when the show becomes bankrupt
and when he returns from the war
to receive the jeers of his audience.
But the picture doesn't move with
that steady heartbeat — and it often
lacks color. Torrence uses his
plastic face to draw upon his emo-
tions and he gives a touching per-
formance in his moments of pathos
— especially the burial of the dog.
You may have to use your hand-
kerchief here to brush away a tear.
But he is not the hapless clown —
the pitiable clown of all song and
story! Which
■B^^^^_ makes us
wonder if he is
not more
adaptable for
comedy and
heavy char-
acter.
The picture
is finely
staged, carries
restraint and
considerable
charm. And
there's a new-
comer, Louise
La Grange,
who will be heard from some .
day. She shows sincere
emotion and a wide range of
expression. Anna Q. Nils-
son plays a small role with
her usual skill. A more
sprinkling of humanities, a
little more balancing humor
— and the picture would
have been a real triumph.
Still, we'll call it good enter-
tainment as it stands.
BREAD" (Metro-
Goldwyn) would be
a real human picture
if the director had brought
out the pathos and mental conflict which are
found in Charles G. Norris' original story.
It fails to touch the inner feelings of the heart
— and yet the central characters fairly cried
for sympathy. It may be that Victor Schert-
zinger, the director, tried too hard to establish a moral.
But we fail to find it here. What we do find is a lot of
marital trouble stressed with too much unimportant detail.
What should have been a compact picture contains sev-
eral loose ends which are not well tied together.
Yet it is interesting. Any one will have lots of fun in
A scene from "Babbitt
(Forty-eight)
Laurence Reid Reviews the Latest Photoplays
accompanying Mae Busch thru her maze of marital
trouble. It is fairly true to life without tugging at the
emotions. It sketches a cross section of humdrum lift
it pertains to a poverty stricken family determined to keep
up appearances, rhe central figures are a proud mothei
and her equally proud daughters. The latter arc con-
•id. One marries a hard-working man and finds
solace with a
brood of chil-
li r i- n : t h e
other plunges
into business
and eventually
marries a
young boaster
— a character
not well inter-
preted by Rob-
ert Frazer who
it miscast as
an Irishman.
The best work
i- contributed
by Miss
Busch, Pat
I >'Malley and
Eugenie Besserer.
The book hasn't been tam-
pered with to any extent, tho
the Irish husband undergoes a
too sudden change of character
as depicted here. As we said
above, it touches life fairly
accurately, contains some first-
rate comedy — and is appropri-
ately staged. And it offers a
pleasant hour and a half.
BOTH as an example of
flapper expression at its
highest peak and as en-
tertainment, "Wine
of Youth" ( Metro-
Gold wyn) leaves
but little to ask for
in the way of en-
tertainment. It is
similar to others of
its cloth in that its
theme brings forth
that Youth of to-
day is no different
than when grand-
ma was a girl. But
where it surpasses
the others is in its
prodigality of
scenes.
King Yidor, you are responsible
for this effort. And you have
brought out the jazz spirit here so
that the picture eclipses anything
heretofore presented along this line.
The heroine has her fling — a good,
big one — then she sees the error of her ways, and accepts
matrimony as the best solution of a conventional exist-
ence. She has been goaded into wedlock thru her quarrel-
some parents, each of whom has accused the other of
being responsible for Man's streak of wildness. The
picture is an adaptation oi Rachel * i ither'a play, "M
the Third." \n<l it moves at lively pace, offering one rub
- after another, until its climax, when Victor allows
it to become a pre.u hmcnt 'I lie concluding
too much generalization on morals, Mad it maintained it-
pace and not flirted with preachy advice it would I
been almost perfect, It i- capitally played by a group of
the younger
troupers who
ad i" the mod
em soph:
i a ted st y I e
tailed for in
the story.
D ,1 '
Upper left: Tom
Buster." Upper
in "Behold This
Ernest Torrence
Mix in "The Heart
right: Irene Rich
Woman." Center:
in "The Side-Show
of Life." Upper left: Marie Prevost
and Monte Blue in "How to Educate
a Wife." Upper right: Baby Peggy
in "Captain January"
B-
BITT"
(War-
ner Brothers)
is a dull, rou-
tine affair —
which is minus
the necessary
spark to give
it life. Sinclair
Lewis' manner
of writing takes in every detail.
His is a photographic mind —
and translating one of his
stories calls for laborious labor.
It isn't that the sponsors here
haven't expended considerable
effort to humanize Babbitt. It
remains that Babbitt simply
refuses to respond to camera
treatment because it is mostly
a study of character. So the
parties who made it did the
next best thing — they fashioned
it along picture lines.
They have injected some
drama, a faint dash
of comedy, some
character sketching
— and a sprinkling
of heart interest.
And there is a note
of the eternal tri-
angle interlaced
thru it. The story
does not build
much interest —
and moves slowly
without much flash
of inspiration to
its orthodox con-
clusion.
A picture came
some seasons ago entitled "A
Old Dog" which was much
closer the truth — in its portrayal of a
middle-aged man searching for youth
and romance. Babbitt here is mar-
ried and he has grown tired of
domesticity. But the note of the obvious mind that
symbolized Babbitt in the novel is missing. Babbittry
spells boobery as Lewis interpreted it. But Willard Louis
in the title-role is not the symbol of the man in the street
(Continued on page 94)
out
Gay
(Forty-nine)
Pertinent and Impertinent
Screen Comment
I
F Rodolph, or Rudolph, or possibly Randolph by now,
Valentino is the most talked about Film Fiirst these
days, Wallace Beery is certainly the most seen about.
Probably if all the recent footage taken of Wallace
Beery was connected in one long roll, it would reach from
Xew York to Hollywood three times and there would
still be enough left to make up nifty sport belts for Hope
Hampton, Nita Naldi and Barbara La Marr.
Or putting it another way, it would be only about two
miles shorter than a picture directed by Eric von
Stroheim, the man who loves to hate himself.
There has been considerable pro and a whole lot of
con about how funny a fat man really is, and we have
consistently stood up and cheered with the contrary-
minded. Nevertheless, it is our public opinion that if
Walter Hiers could take over the Bawby Ephalunt
stories of Holworthy Hall which are running in the
Saturday Evening Post he would bust the movie
rhinoceros-hide, as we sport writers say, for a circuit
clout. The plots of the
stories are not only highly
ingenious and diverting,
but the dialog is price-
less. The material is,
Lafayette, certainly there,
and if Hiers' talents can
stand the strain, and if
Hall can keep them to stick
to the text for the titles,
another one of these new
epochs — or is it epics — in
the shining history of
cinematography will have
dawned.
As usual, we've broken
the ice. And who's going
to produce the hair-lini-
ment?
>
•fr + +
While we are
on the subject,
Tommie Mun-
din, of Chariot's
Revue, says he
wants to do a
movie, or a series of
shorts built around
"Jarge," the rural
lout, or oaf, who has
made such a hit in
the revue. In this
case, all that is needed
is someone intelligent
enough to write him a
script, and somebody
else intelligent enough to
direct it, and somebody
else intelligent enough —
but here ! here ! we're
getting idealistic.
K*
Decoration
Thru the Courtesy of
Hal Roach Studios
Posed by
Beth Darlington
and
Billie Beck
There is, we frequently notice, a touch of Socrates.
Christ, Mohammed and St. Joan of Arc in our attitude
toward the movies. Try as hard as we can, and that isn't
so very hard, we cannot refrain from announcing — in a
pleasant, conversational tone, to be sure, just what is
wrong with the movie under inspection. And invariably
the five rows in front of us, and the five rows in back of
us grow very, very peeved — altho it's really all in their
interest.
Eventually if we are not burned over a rotisserie grill,
we expect we shall be dragged forth by a howling mob
of movie fans and made to drink a Nedick orange drink.
Hh + +
Speaking of Socrates, in his preface to "St. Joan,"
Shaw says, "he had no suspicion of the extent to which
his mental superiority had roused fear and hatred against
him in the hearts of men towards whom he was con-
scious of nothing but good will and good service."
Ah, that's the idea, exactly!
Milton Sills, it is rumored, will play the title-role in
"The Life of Christ."
We understand perfectly what faction is back of this
subtle propaganda and we
intend writing a letter to
Henry Ford.
"T* T" "T*
Is Marriage Marriage?
(Twenty-ninth Instalment)
Note: The preceding instalments
were mysteriously stolen from the
back seat of an aquaplane while the
author was crossing the Andes on
roller skates. But dont let that
worry you.
Essmore Dismal, our
hero, after various adven-
tures is finally driven by
the friendly realtor to the
shores of beautiful Lake
Apopka. Here he
leaves him, rather
suddenly. Essmore,
enchanted by the
scenery, is wandering
thru an orange grove
when a grapefruit
drops from a tree on
his head and knocks
him unconscious.
When he comes to,
he finds his head in
the lap of Guava Golightly,
the girl he has come to
Florida to seek. Insert :
Fate plays many strange
tricks when Cupid winds
the dice.
"Where am I?" asks Ess-
more, just as if the realtor
hadn't been telling him
about the natural beauties
of citrus-growing Florida
for five hundred and
(Contini4ed on page 93)
^
M
(Fifty)
AND THE BEST
CLASSIC'S LIFE-STORY SCENARIO CONTEST
Cl ASSIC, after its seven years in the motion-picture
field, has come to the conclusion, first, that ninety
per cent, of movie fans after seeing ninety per cent,
of the pictures come away believing that they could write
ood a one, if not better; second, that their own story,
if properly told, would make a more thrilling picture than
any they have seen. This is not surmise — it is the
inevitable conclusion of experienced facts.
Now :
Every human being has his story, no matter how drab
or uninteresting he may appear on the surface. You
remember your girlhood on the farm and the amazing
thing that happened there, that you can never forget, tho
only three people knew about it. You remember when
you first ran away from home as a mere boy, and the
exciting adventures that you never dared tell, that you
had before you got safely home. You remember that wild
survey up in Canada and the dangers and hardships and
loneliness ; the forbidden voyage
to the South Sea Islands; the
mutiny ; the railroad wreck ; the
fire and the heroism of the
mysterious stranger ; the curious
neighbor that never left his
house without an overcoat, no
matter what the weather ; the
suspicious couple that drifted un-
expectedly into your life and left
as inexplicably as they had come ;
the dope raid in your own here-
tofore respectable neighborhood ;
your own love story that you
have never told before ; and so
on ad infinitum. Life is full of
thrills — they cant all have passed
you by.
We want you to tell us your
story, the story of your life, the
thing that has happened to you
that would serve as the nucleus
for a moving picture. Dig deep
in your memory — and find a
movie plot, or just an idea, or an
incident that could be elaborated
into a scenario. More exciting
things happen daily in real life
than one could ever find on the
screen. Truth is stranger than
fiction no matter how often it has
been said. Every fiction story
has its counterpart in reality.
Just read the daily papers ; just
keep your eyes open and your
THE RULES
1. No manuscripts will be returned.
2. Positively no exceptions will be made to
Rule 1. Keep a copy.
3. Manuscripts must not exceed 600 words
(about two typewritten pages).
4. Your name and address must be distinctly
printed at the top of every manuscript. If
you wish another name used, sign it at the
end of the story.
5. Manuscripts are better typewritten, but long-
hand will be accepted.
6. Address your manuscripts :
Life-Story Scenario Editor
MOTION PICTURE CLASSIC
175 Dufheld Street Brooklyn. X. Y.
THE PRIZES
1. Every month as long as the contest lasts
Classic will print three Life Stories; the
best to win $15.00; the second, $10.00; and
the third, $5.00.
2. At the close of the contest, which will be
announced later, Brewster Publications, Inc.,
will engage a competent author to develop
the story or plot adjudged the best of all
those submitted, published or unpublished,
into a workable scenario and will use its in-
fluence and best effort to sell it to some pro-
ducing company, whatever price obtained to
be paid directly to the winner.
\Vatch each issue of Classic for news,
awards and announcements.
wits about you and you'll find a story in real life — if not
your own story, your friend's, or your neighbor's. Life
is nothing but stories, true stories that have been lived
You've got one — send it to us.
Never mind the form. This contest has nothing to do
with literature. Correct spelling, a neat paper, big words,
style, the proper approach — all these things that have been
of importance in determining tire winners of other con-
tests, mean nothing here. It is the story we want — the
idea — the plot. We'll put it in its proper form if it proves
saleable. All you have to do is write it down as you
remember it. All you really need is to know how to write !
Every month Classic will publish three of these
stories; the one judged best in the opinion of the editor
and her staff will be awarded $15.00; the second. $10.00.
and the third, $5.00. These three awards will be given
every month as long as the contest lasts, so that your
chances multiply indefinitely.
At the end of the contest
Brewster Publications, Inc., will
engage a competent author to de-
velop the story or plot adjudged
the best of all those submitted,
published or unpublished, into a
workable scenario and will use
its influence and best effort to
sell it to some producing com-
pany, whatever price obtained to
be paid directly to the .winner.
Naturally, if accepted, your
scenario will get publicity in all
three of our magazines. You
are also free to sell your story
elsewhere, even if it has been
published in Classic, any time
after the contest closes.
It seems to us that this is the
opportunity of a lifetime. It is
the sort of thing that practically
everybody can try for. since it
requires neither education, nor
skill, nor any technical knowl-
edge whatever. The moving
picture is badly in need of origi-
nal stories, real life stories. Thru
you, and you, and you. Classic
is going to supply them.
The rules are as simple as we
can make them. You must fol-
low them. They will be printed
every month. Because of the
enormous bulk of material we
(Continued on page 86)
(Fifty-one)
Flashes From the
Of the Stage
Caught by
Above: Bcbe
Daniels in a
blonde wig and
Richard Dix in a
merry moment
from "Sinners In
Heaven." Right:
Adele Astaire and
her mother and
her husband
Fred, who are
leaving their
London triumphs
to come home to
star in a comedy
by Guy Bolton
THINGS theatrical are
picking up after the sum-
mer slump that makes
each year a quiet country
lane of Broadway — almost.
There have been dozens of new openings and some of them
have stuck. * * * After several disappointments with foreign
revues early last season, Andre Chariot's revue upset the dope
and now, confident that novelties from abroad are fixtures,
Arch Selwyn already has arranged for a second revue by
Chariot. Prior, however, will come "Rue de la Paix," with a
cast of interna-
tional names :
Raquel Meller,
Grock, the
clown, the Rus-
sian Lilliputians
(who originated
the "parade of
the wooden sol-
diers"), Maurice
and Leonora
Hughes, Ivor
Novello, and
Patou, the Pari-
sian fashion de-
signer. Because
of the wealth of
revues nominated
for New York
in the fall, "Rue
de la Paix" has
been timed to
enter after the
others, about
November 1st.
* * * Edward
Laemmle, Uni-
versal director,
is making shots
of the shrine of
St. Anne de
Beaupre near
Quebec, for use in Clarence
Budington Kelland's story,
"Miracle," which is being
filmed. * * * Judith Anderson,
who plays the wicked, wicked
lady in "Cobra," was greatly
incensed recently when a
letter, addressed merely to
the wickedest woman in New
York, was marked "Try
Judith Anderson, Hudson
Theater," by some one in the
Post Office Department. The
letter was a scathing arraign-
ment of women vampires,
and altho the actress takes
pride in her realistic work,
she thinks that is going a bit
far. Altho Miss Anderson
has been signed by David
Belasco for several years and
will appear in a play under
his management in the fall,
the idea has occurred to Mr.
Williams, of the Ritz Pic-
tures Corporation, that she
(Fifty-hvo)
Eastern Stars
On the Screen
the Editor
would be i ver) kri,,i(l bet
to play the part which she
created on the stage in ■
pictui c \ ei si< 'ii whether
her appearance in the film
ean be arranged with Mr. Belasco remains to be seen, but so
favorably impressed was Mr. Williams by the acting of the
young star that he is endeavoring to arrange it. * * * Rehearsals
of Billic Burke's latest vehicle, tentatively called "Annabelle,"
which her husband, Florenz Ziegfeld, will produce this season,
have begun on the lawn of the country estate leased by the
producer on Long
Island. Edward
Royce is staging
the piece. Ernest
Truex plays the
male lead. Clare
Kummer, author
of the play, is di-
recting most of
the rehearsals in
conjunction with
Mr. Royce. * * *
Richard Barthel-
mess is complet-
ing "Classmates"
at the Tec-Art
Studios which
they leased for
this picture. The
company just re-
turned from Flor-
ida where some
exteriors were
shot. * * * Wil-
liam Brush, pro-
ducer of Kings-
ley's "The Water
Babies," is in
Miami, Florida,
trying to per-
suade a sword
fish and a shark
to give him a mortal combat
for his picture. He is going to
stay aboard his lugger until he
gets it. Mr. Brush has selected
little Charles Gould for the
role of "Tom." Charlie has a
record of remaining under
water eighty - eight seconds
which is supposed to be the
world's record. * * * It is con-
sidered likely Madge Kennedy
will be seen this fall in Lynn
Starling's new comedy, "In
His Arms," which was tried
out on the coast this summer
by Margaret Lawrence. * * *
While abroad, Gilbert Miller
saw "Antonia," which his
company will present here,
and he brought back a trans-
lation by Somerset Maugham
of Luigi Chiarelli's "The Mask
and the Face." Mr Miller also
obtained the rights for Ameri-
can presentation of Barrie's
"Shall We Join the Ladies?"
Above: Dorothy
Dalton and her new
husband, Arthur
Hammerstein, re-
turning from their
honeymoon
Abbe
Above: The
Dolly Sisters
with their best
friend, Pearl
White, pose to-
gether before the
Dollys left Paris
for the United
States to star in
the new "Green-
wich Village
Follies." Left:
Two of our own
movie stars in an
English film
called "Swords
and the Woman."
They are Pedro
de Cordoba and
Holmes Herbert
(Fifty-three)
CLASSIC
Puffer
Above: Flora Le Breton direct-
ing her director, E. H. Griffith,
in "Another Scandal." Right:
The first of the "Follies" girls
to get her millionaire, Addie
Rolph, now Mrs. Cecil Sillman,
posing on the most famous
fire-escape in the world, that
behind the New Amsterdam
Theater which houses the
"Ziegfeld Follies"
O Keystone View
An exciting moment from Commissioner Enright's screen
serial, "Into the Net." Both Jack Mulhall and the camera-
man risked their life on Brooklyn Bridge for this stunt
* * * Eve Stuyvesant, well-known scenario writer, together with
Helen Klumph and Elizabeth Stuyvesant, have incorporated The
Stuyvesant Pictures to produce a series of split reels featuring famous
women of our time. The company intends making a pictorial hall of ;
fame or historical record in motion-pictures of what women are doing
in the way of world's work. * * * Recently, while making "Dixie" in
Charleston, S. C, Allan Conner, who plays the lead, met Charles
Durand, millionaire clubman, and the latter became so interested in
picture making that he took an active part in the picture. Both Mr.
Durand and Allan Conner are expert duelists, and in one of the
scenes for the picture a duel was staged. Unfortunately Mr. Conner
wounded Mr. Durand so badly that he was taken to a hospital. * * *
Hope Hampton bought more than one hundred gowns while in Paris
recently. Francs, Miss Hampton said, were selling at twenty-eight
for one American dollar the week she selected the gowns and she
quickly learned to compute the price of the raiment in dollars and
cents as soon as it was announced to her by the shopkeepers. But
alas, when she went to pay for the gowns which she had selected, she
learned that only seventeen francs could be purchased for a dollar !
And so that shopping expedition cost Miss Hampton nearly ten
thousand dollars more
than she had expected !
* * * The McCall Pub-
lishing Company will
produce a series of fash-
ion films which probably
will be called "Notes
for Women," in which
Miss Hampton will star
with her one hundred
Paris gowns. A regular
story has been woven
and the film will not be
merely a fashion parade.
Miss Hampton plans to
go abroad at least twice
a year to bring back
gowns for the McCall
series. This is the first
time that any such thing
has been attempted on
the screen and it should
prove interesting as well
as profitable. * * *
Horace Liveright, book
publisher, heads a new
firm of theatrical pro-
ducers just incorporated
with offices 'at 61 West Forty-
eighth Street. Four plays, includ-
ing one musicaT comedy, already
have been obtained by the firm for
October production. The first
offering will be an American
comedy by Edwin Justus Mayer,
a young author, with scenery and
costumes by Lee Simonson. * * *
A new Owen Davis play is sched-
uled for early presentation under
the management of Lewis & Gor-
don. It is entitled "The Haunted
House." Wallace Eddinger will
be the principal player. This piece
was tried out at the tag end of last
season under the name of "Find
the Woman," and later as "The
Long Arm." * * * After an out-of-
town tour "The Green Beetle," by
John Willard, is to be brought
into the Klaw Theater early this
month. * * * Herbert Brenpn is
in New York chafing to begin
(Continued on page 97)
(Fifty-four/
In a California Garden
BEING THE FOURTH OF CLASSIC'S "FINE ARTS" SERIES
This lovely spot is a corner of one of the many beautiful gardens of the
Jewett Estate in Pasadena, which was most generously loaned for the
exteriors of First National's "Single Wives." An appropriate setting
for Corinne Griffith, who starred in this picture, we think. This one
charming view is a perfect example of what the screen can do to bring
beauty to those whose lives lack it altogether. If one cant have, one
can at least see lovely things, merely by going to the movies
(Fifty-five)
Fictionized by permission from the Marshall Neilan production of the
screen adaptation by Dorothy Farnum of Thomas Hardy's famous novel
IT all seemed so queer like, thought Tess, watching the
hot red moon behind, the haystacks. Harvest moon
again, a farm dog baying somewhere beyond the
downs, the doves making a sound like running water in
the thatched eaves, and she sitting here in the dimsey
— waiting
Like as if, thought Tess, it was meant somehow.
Always it was that way, things just seemed to happen.
She was like that leaf there blown along the ground by
the wind. It had to go the way the wind sent it, and
the wind was strong and cruel. There was no use trying
to hold against the wind. Her
arms which had been cradling
something invisible fell listlessly
at her sides. Leaves — blown into
the hedges — or into bonfires —
leaves blown among tall stones,
strange, grey, old stones —
"I must be fey !" Tess
whispered, "why should
I always be dreaming
of stones standing on
end ? And yet — it
frightens me sore —
that dream " a
shudder ran thru her
slight frame, "they're
so cold "
Thru the shadows a
deeper shadow was
moving toward her.
Tess knew well who
came, yet she watched
him coming with
horror washing in a
chill tide over her
soul. The moon-
flashed night became
another night when
the Wessex woods and
fields of her childhood
had looked to her
waking eyes unfamiliar
under a pallid moon,
like the dead body of a loved friend. In the pale light
the face that she lifted to Angel Clare was stamped with
fear.
"Why, Tess!" he said, in that gentleman's voice of
his that was the echo of another voice, "Why, Tess, my
dear little girl — did I startle you?"
Fear and the weight of memory slipped from her
spirit as she looked up into the sensitive, clear-cut face
that made her think of Saint Michael's in the stained
glass window of the church. Angel Clare was beautiful.
rather than handsome, but his slight figure in its rough
homespun farm garb had a man's
„„ „ -, . . , „, strength. Yesterday he had lifted
He gave me no peace, Tess pleaded, but . °, , ■ \ ■ t
I knew 'twas not the right way of loving. a slck sheeP in hi% arms and
... I begged him to let me go" carried it from the fields to the
byre, crooning to it all the way
like a mother soothing a sick
child. And today she had
seen that nervous, slender
hand double into a fist
and knock down a
hulking yokel who was
teasing a dairymaid.
"No I beant afeard
— I'm not afraid," she
corrected herself,
cheeks scorched with
shame of her uncouth
tongue.
Angel Clare laughed
as he sat down on the
bench beside her. But
there was no mockery
in the sound, rather a
rushing tenderness.
"Dont be ashamed of
your Wessex dialect.
Tess ! With your face
it gives you a charm-
ing air of a great lady
masquerading as a
milkmaid — for you
have birth and family
in every line of you !"
(Fifty-six)
CLASSIC
Die small head beside him with iti crown ol hair like
metallic gold lifted with an odd pride "Please. Mr,
Garel Fve told you afore that I'm from verj humble
folk, born .md reared in .1 cottage Fathei did ">l<l jobs
foi the gentry and there was never food nor clothes
enough to go around the six of us children — "
"Durbeyville " mused tagel Clare, unheeding her
piteous attempt to change the trend of Ins thought, "it
might easil) be the corruption of some noble name. ( Kir
old families have always had branches thai went to seed.
I must look a up .uid find a crest foi rets to wear "
he took her hand, but it was snatched from him suddenly.
Tess had leaped to her feet, small bosom rising and fall-
ma with stormy breaths.
"I tell ee 1 daont want to be gentry!" all her hard-won
precision oi speech forgotten, she swept on into the broad
VOWels oi her childhood, "us was happ\ and hard-work-
ing till Parson, he comes to the cottage wi' a tale as we
ought rightly to be D'Urberville. Seems like he'd looked
us up in a book he had. and when my fevther gets it in
ee head as he's got blue blood he'us too proud to do an
honest day's work and spends his time in the Three
Highwaymen drinkin' and tellin' folk how grand he be
till he drank hisself under sod."
"'D'Urberville'" cried Angel Clare, giving the word the
correct pronunciation. There was a triumphant note in
his voice as tho answering some question in his own soul.
Homespun and heavy boots he might wear, and work at
Talbothavs' farm in
His hands w( tie "ii hen that fluttered like
quivering bird wings, his eyes looked down at bet with
the dear light she thought of the candles on tl"
church altar ..i a Sundaj Why did she rememl
that held the hot flame <>i bonfirei bonfires that
sume wind-swept i<a
"1 want you for mj wife, Teas," said tagel c .
Perhaps there was just a trace of vaingloriousness in his
attitude, a hint that not ever) fellow iii bis position would
have said that, hut it th( she did not under-t
It seemed to her that she would (he of worship for this
godlike being who had COOie down from his stained
- window to the common ground. Yet she tat silent,
Staring with suk eyes at the hot red harvest moon which
lighted the hayrick with ghostly flames.
"Of course." said Angel Clare, with a new note of
humility, "I know I'm not good enough for you. d<
"i rood enough." thought TeSS. "( >h ( Jod, hint not good
enough for met"
"I've always known I would have to tell the woman I
wanted to marry." went on Clare, almost with a fan;:
pride of confession, "But years ago when I was onK
a- boy I went to London for a school vacation " it
was a common enough experience he had to relate, that
of an ignorant boy initiated into sin by a woman he met
in a restaurant, a tawdry little incident of a night of gin
and love in a red-papered room over a pub. but it had
evidently assumed terrible proportions in his eyes from
order to learn how to
manage a dairy farm
of his own, but — the
Clares had been
gentlefolk since
Alfred's reign, and
he never forgot that
fact even in his sleep.
"Why, Tess ! Do you
realize that's a fine
name — a great
name?" He saw that
she was trembling
violently, and drew
her down beside
him, "There ! There !
We wont talk about
it any more, you
queer, proud little
thing! We'll talk
about something else
— something that I
came out here to tell
y o u tonight,
Tess — — "
He thought that
that was true, swept
away from his life-
long moorings by the
warm, sweet near-
ness of her, tl-ie touch
of her hair on his
face. "I love you —
nothing's been the
same since I saw you
six weeks ago, com-
ing in at the gate
with your little bag —
I've — I've been want-
ing to tell you so ever
since, but I didn't
dare! You're such
an easily frightened
little thing. Tes~'"
"It died," whispered Tess, "the parson wouldn't baptize it so I did it myself.
Such a little pretty baby . . . but it died"
(Fifty-seven)
CLASSIC
Angel Clare discovers that poor Tess Durbeyfield is one of a fine old family
formerly called D'Urberville, whereupon he asks her to marry him
long brooding on it. His sensitive soul had been scorched
by the everlasting firev».
Tess listened, hardly hearing his stumbling abasement,
and happiness which had seemed so far away and im-
possible a moment ago suddenly reached out a hand to
her. She who could never, now, marry a stained-glasf.
saint perhaps might still be the wife of a human being
who had sinned and suffered and who could understand
— the way of leaves in the wind. Strangely enough, he
grew only the dearer for his sordid little story, for his
ludicrous fall. And then, at the end of it, his head went
down on her knees she gathered it against her breast with
mother-tenderness.
"There, there, my deary! I'm glad you told me — glad!"
"Then in spite of what I did you can still love me?"
Angel asked humbly, and yet complacently — for after
all not every man would have confessed ! "You will
marry me, Tess — Tess of
the D'Urbervilles !" He
gave the name its aristo-
cratic form. Tho he had
loved Tess as he had told
her, since her first coming
to work in the dairy at
Talbothays. he loved her
even more now that he felt
her connected with the
nobility. She would be
easier to explain to the
narrow-minded old
TESS OF THE D'URBERVILLES
A Marshall Neilan production for Metro-Goldwyn-
Mayer. Starring Blanche Sweet. The cast:
Tess Blanche Sweet
Angel Clare Conrad Nagel
Alec D'Urberville Stuart Holmes
John Durbeyfield George Fawcett
Joan Durbeyfield Victory Bateman
Dick Courtenay Foote
South American Priest Joseph J. Dowling
North Country parson,
his father, and that
(laughter of a Squire,
his mother.
And then — for he
was only a boy and
very much stirred by
the white loveliness of
this girl, the dross of
self was gone from the
moment and only the
gold remained. He took
her gently into his arms
and held her close,
murmuring broken
words — "Tess — so beau-
tiful— love — always and
always "
A little wind came up
sending a shower of
leaves dancing by in gay
carousal. A lamb in
the near-by byre made
a thin plaintive sound.
Why, thought Tess,
when she was safe in
Angel Clare's arms
must she be minded of
other arms, ruthless —
terribly strong? Would
it be so always? No.
no, thought Tess, she
would be happy, she
must be happy
And the wind whirled
the leaves on and on.
The master and
mistress of Talbothays
would have given them
a fine country wedding
with hearty eating and
drinking and dancing in
the great kitchen, but
Angel Clare refused in that gentleman's way of his. "We
shall go to her people in Wessex," he explained.
Tess said nothing at first when he spoke of his plan
to her, only one small hand went up to her throat and
for a moment her eyes seemed to look on some terrible
thing. Then she laughed it off — no, she wouldn't go home,
nor to his home either ! She wanted no staring folk eating
her up with their greedy eyes and making a fuss !
Angel Clare remembered afterward the way she had
clung to him, as tho something was tearing her away.
"No one at our wedding, dear heart! Just the parson
and you and me — and God !"
On his wedding eve Angel walked for miles across
field and down, wondering at the beauty of the world,
a-tremble with his own happiness. But Tess knelt all night
by her window gazing into the darkness with desolate
eyes. "Maybe I'll never tell him,'' she whispered once.
then in passionate denial,
"Why should I be afeared !
He will understand. He'll
see that it wasna my fault
— 'twas meant to be — I'll
tell him afore we go to the
church " her hands
wrung together convul-
sively, "— —or maybe
afterward !"'
The eglantine was
a-bloom on all the hedges
when Tess and Angel
(Fifty-eight)
CLASSIC
Clare walked along the road to the village the next da>
I'lu-ir simple luggage was to follow on ■ cart
wagon and after thr\ were married the) would
take .1 train for the nexl town, Hie kinc'
mistress of ralbothays had helped Tesa make
the plain white dress she wore, commenting
d\l\ the while thru a mouthful of pint,
"Well, well, art thin as a rail, my dear] '
Ess faj ' But never mind a rafl of
young 'uns will plumpen 'ee up wum
full W hy, .what's amiss, lass! I >id I
■tick 'ee wi' a pin that you trj to jump
OUten your skin ">"
ress was feverishlj gay, pulling
- from the hedge and tearing
them to tatters with restless fingers.
The molten gold of lu-r hair dazzled
Angel's eyes. It made a radiance in
the dark little church with the smell of
mold and candle grease that lie. a par-
son's son. had learned to associate with
religion. It seemed the only living thing
in a world oi shadows as they whirred end-
lessly thru green English landscape afterward
and later sought supper and lodging in the busy
shire town.
When at last they were alone in a clean, hare little
room high above the rattling carts and clamor of tongues
in the market square, he took Tess into his arms and they
1 so for a long time, not speaking, while the flicker:
ing candle cast a grotesque shadow embrace upon the
whitewashed wall. "Are you happy, Tess?" he whispered,
and she answered almost defiantly, "Yes! I am happy."
"Do you know why I came here?" Angel Clare asked,
presently. "1 played a little trick on you, darling! You
asked where we were going, but I didn't tell you it
was to Marlott " he laughed boyishly, "I'm jealous,
Tess ! Jealous of the long years when I didn't know you.
So we're going to your home village and you shall show
me all the places where you played when you were a fat
little girl with tow-colored pigtails!"
He stopped, for Tess had made a strange sound. Step
by step she drew away from him till she was standing
against the wall. Something in the stricken face she
turned toward him warned him not to follow. Then her
arms dropped helplessly. "See!" said Tess in a dead
tone, "things just happen wi'out our contriving. I
At the top of the
page: Tess and
Angel Clare on
their honeymoon,
at last alone in a
clean little bare
room, high above
the rattling carts
and clamor of
tongues in the
market square,
Tess tells her
story. . . . Left:
"I . . . killed
him," said Tess.
"I suppose they
will hang me,
wont they? 'Tis
proper queer how
things come — I
never wanted to
be wicked and
now I must be
hung — — "
(Fifty-nine)
CLASSIC
thought I'd never see Marlott again — and I'm going there
on my wedding trip!" She laughed rather dreadfully.
"Tess!" said Angel Clare. His face had grown hard
and stern, a stranger's face staring horrified at her, "what
— can you mean ?"
In the silence the bang of the shutters as some trades-
man closed his shop for the night came to their ears,
and the light, empty sound of a girl's laugh.
"I'll tell 'ee!" said Tess, stonily, "you'd hear it anyhow
afore you'd been ten minutes in Marlott. There was
little else they talked about when I ran away to be beyond
the clack of their tongues "
It was a year and a bit more ago — said Tess — that her
father got it into his head that he was by rights one of
the D'Urbervilles and after that nothing would do but
they must claim kin with the family that lived in a grand
house on the hill beyond the village. By night nor day
her mother would give her no peace till she promised
to go to the D'Urberville house and ask them to do some-
thing for their blood relations. And at last she went,
tho she thought she'd die of shame telling the parson's
silly guess to the haughty lady, and seeing her smile so
scornful like.
But the lady's son, Alec D'Urberville, a fine young
gentleman with rings on his fingers, was there, too. and he
spoke up and begged his mother to give her work in the
poultry yard. So she stayed on in the grand house and
Alec D'Urberville
"He gave me no peace," Tess pleaded, and now her
stony calm was gone and she rushed on wildly, "he told
me he loved me, but I knew 'twas not the right way of
loving and I tried to keep away from him. I begged
him to let me be but he only laughed — and then one night
I was walking home from town with some o'
the other maids and they • started
quarreling and shoving, and Alec
D'Urberville came riding by
and offered to drive me to
the big house himself. I
was afeared • of the
girls, for they'd been
drinking so I
climbed into the
cart with him
and I fell
Sobs choked
her. Thru
them
Angel
voice,
came
Clare's
harsh
with
"And
scorn
I w a
afraid to kiss you !
God! What a fool
I've been !"
She ran to him,
with frantic hands, "but I
wasna to blame ! I was asleep
and when I woke up — I wanted
to die ! Angel, dont look at me
like that. Why — why you look
just like the rest of 'em when I
come home wi' my shame "
He moved his rigid lips with an effort, " you mean
— you have a — child?"
"It died," whispered Tess. Unconsciously her arms
made a cradling motion, "the parson wouldn't baptize
it so I did it myself wi' a basin of water. Such a little
pretty baby, Angel — but it died. And I couldn't bear
the staring eyes and the whispers, so I went away. And
then I met you and it seemed maybe God was sorry and
was going to give me a chance to be happy after all."
In the grim grey shadows of Stonehenge
the "strange men" find Tess
He put her away not ungently and strode to the
window, frowning out into the darkness, "and you let
me marry you "
"But you told me — about that night in Lunnon "
Tess pleaded, "it didn't make me love you the less! After
all, how am I different than I was? I always wanted
to be good !"
He had loved her very much, tremulously like a boy,
bitterly like a man, and the struggle between love and
hurt pride was a sharp one. But after all he had been
the lover but a few weeks, and he had been Angel Clare,
the parson's son, for twenty-four years. The end was
marked from the beginning, tho it did not come until after
devastating hours of tears and futile words and fierce
spasms of rage on his part toward the man who had in-
solently stolen what belonged to him.
Toward morning Tess, sunk upon the floor by the
window, fell into the troubled sleep of utter exhaustion
to dream of great grey stones towering over her and
when she awoke Angel Clare was gone. A note pinned
with some bills to the window sill said briefly that he
thought it best for both of them not to see each other
again. "I am going to South America." he wrote, "I
love you, but things cant ever be the same after what
you've told me. If you need money write to my
father " he gave the address and that was all.
In the grey dawn beyond the window a tiny object
whirled by, a leaf borne on ;the gust. The easy relief
of tears was beyond Tess now. She had wept herself
dry thru the dreadful scenes of the night. In a stony
calm she took off the crumpled white bridal dress, put on
a coarse clean smock from her bag, and smoothed the
heavy gold of her hair. "When there's nothing more as
can happen to 'ee," she said to the white face
in the glass, "you're safe."
This fatalistic sense of being
driven by forces outside of her
went with Tess Durbeyville
thru the drab days that
followed when — back
in her native village
again — she moved
a u tomatically
rK thru the old
^^i familiar
drudgery, un-
heeding the
avid stares of
old crones who
paused by the
gate to watch
her, unheeding
her mother's per-
petual whine.
"Live on fat o'
the land 'ee could, an'
a'd rather see her own
brothers an' sisters starve,
an' the mother who bore 'ee !"
Tess knew that she referred to
Alec D'Urberville and the money
she might be able to get out of
him. She knew that their situa-
tion was growing desperate and
that soon something must be done or they would be put
out of the miserable cottage, but it was the hungry wails
of her youngest brother which finally pierced the numb-
ness of her heart. They were a little like the thin plaint
of the hapless scrap of life that she had held for a short
few weeks in her arms.
x\nd when Alec D'Urberville rode his curveting black
horse down the winding street, flung the bridle rein to a
(Continued on page 76)
(Sixty)
Star Light
A Billion Dollar Cast
The combined glory of this group would outshine the sun. We never saw so
many stars together before. The occasion was a party that Conway Tearle
gave in honor of Ethel Barrymore at the conclusion of her Los Angeles
theatrical engagement. The group includes: Conway Tearle, Ethel Barrymore,
Laurette Taylor, Bessie Love, George Archainbaud, Natalie, Constance and
Norma Talmadge, Leatrice Joy, Colleen Moore, Theda Bara. Donald Brian,
Vivian Martin, George Fitzmaurice, Percy Marmont, Buster Keaton, Ernest
Torrence, Owen Moore, John McCormick, John Gilbert and others. How
many can you recognize?
iSirty-one)
Rex, King of
His Story
THE making of "Rex, King of
Wild Horses," featuring a
wild horse, under the Hal
Roach banner, has marked a new
epoch in the production of animal
pictures. It has brought to the
screen the impossible, and in days to
come will bring many more new pic-
tures of real, original and interesting
entertainment.
When it was decided to make "The King
of Wild Horses," Hal Roach very naturally
wanted the best man obtainable to handle the
selection," training, and direction of the
animal. He wanted a man who could go out
on the ranges, get a real wild horse, tame it
sufficiently without breaking its spirit, to carry the lead
in this picture. There was little doubt in the producer's
mind as to what man he wanted, and he succeeded in gain-
ing the services of Chick Morrison, the dean of horsemen.
After a search thru several states, Morrison found
Rex, an untamed, yet registered stallion in Colorado. It
may seem peculiar to the reader to call Rex a real wild
horse and at the same time say that he is a registered
Morgan stallion, but the following few lines will explain
this complex. When this horse was but a colt, he dis-
played every sign of what might be called meanness. He
was treacherous and dangerous and developed an extreme
hatred for man. Deciding to leave him alone for a while,
as he was yet too young for commercial purposes, his
owner gave him the freedom of the range. The call of the
wild was greater than that of civilization and after a short
while he became a character not unlike the "Black," which
he portrays in the picture. Many attempts were made to
capture him, none meeting with success.
Wild Horses
Rex and his trainer,
the late "Chick"
Morrison
By Tom Reeves
The State Reformatory, located in
the little town of Golden, found
themselves in need of a work horse.
The most economical thing for
them to do was to take a horse from
the range. In their search. Rex was
discovered. His beauty attracted
them. Several times individuals at-
tempted a capture, but in vain. A
round-up took place and they succeeded
in driving the stallion into a large corral.
The next move was to rope and break him.
Many attempts were made which resulted in
serious injury to the participants and to one,
even death. They gave up the job as hopeless
and driving him into a box-stall, left him un-
molested. Even those who fed him did so with the greatest
caution. It was then that Morrison appeared on the scene.
After an examination of the animal, he knew that Rex
was the horse he wanted. Of course, having gone thru
the excitement of being captured, which was none too
gentle, the horse had increased his hatred for man. Such
a thing as kindness from a human was beyond his imagi-
nation. Overcoming this was Morrison's task. It cost
him a good deal, from a physical standpoint, to do this.
He was kicked, stamped, bitten and pawed by Rex, many,
many times. Morrison's leg was broken twice during the
production of this picture. Each time thru the treachery
of Rex. But this did not stop him. It was really pitiful
to watch him hobble around on crutches, talking to Rex,
telling him to do this and that.
That's how Rex was trained. Not thru beating, but
by first being shown, using a certain set of words or
phrases in explaining. This same set of words were used
(Continued on page 83)
(Sixty-two)
Alexandresca
Havral
This interesting woman is considered a great beauty in her own country, Roumania.
By any standards she is fascinating. She lends atmosphere and color to Rex Ingram's
picture, "The Arab." Let us hope the screen will keep her
(Sixty-three)
The Hollywood
Above is Bessie Love answering
her fan mail probably. Right is
"Peter the Great," a rival of
Strongheart, and his trainer, or
should one say director, Chester
Franklin. They are making "The
Silent Accuser"
Left: They are using
everything in First
National's "The
Lost World," from
a dinosaur to a
baby. This is the
baby and another
small actor whose
name we didn't get
Clarence.
Badger and
Laurette
Taylor lunch-
ing on loca-
tion, while'
making "One
Night in
Rome." Dont
they look cool
and comfort-
able and satis-
fied?
Transcribed by
BEX TURPIN finds that
the business of acting is
taking too much of his
time. It interferes with the
progress of his art. Ben's
favorite form of art is acting
as an amateur traffic cop.
It began some time ago
when an enterprising pub-
licity man arranged to have
Ben boss the traffic on one of
the busiest corners in the
business section. The experi-
ences that he had that after-
noon were like strong drink
to a reformed inebriate. Every
other experience in life has
become tame by contrast.
Every afternoon, at six
o'clock, Ben takes his station
at the corner of Western Ave-
nue and Santa Monica Boule-
vard— in the heart of Holly-
wood's heaviest traffic. Until
eight o'clock, he stands there
Jike an island in a swirling sea
and bosses the passing motor-
ists. The official glare that he
gives offending chauffeurs is
said to be particularly terrifying from the famous eyes
built on the bias. Meanwhile Mrs. Turpin stands on
the corner and watches him, simply transfixed with
admiration.
Ben excused himself reluctantly from his duties the
other day and I hauled him over to a corner behind a
telephone post where he told me about it.
"No more of this actin' stuff for me," he said.
"Wha* do I want to act fer? I got all the money I
want ; got lots of property and everything ; my
wife isn't so well and I gotta stay home
and keep her company." Ben says
that the producers are trying to
get him to sign another con-
tract, so he might slip back to
play acting after all. Mean-
while he will not lack for en-
tertainment— not while the
traffic trundles on down the
boulevard.
Charles Brabin, who is suing
the Mayer - Goldwyn - Metro
corporation because he was
ousted as director of "Ben
Hur," is returning to Holly-
wood. He is going to direct
Colleen Moore in Edna Fer-
ber's "So Big." This will be
a big change from Colleen's
flapper stories. She plays the
part of a worn and weather-
beaten woman who earns her
own living by running a vege-
(Sixty-four)
Boulevardier Chats
H\KHY CAKH
table farm Possiblj t< ■ get
It ,n >appi<>t with tin-
Colleen has planted her
back yard full of cab-
\\ allace Beery, who has the
distinction of having been the
first husband of ( iloria Swan-
ibout tn he married
The bride is Rita ( iil-
a motion picture actress
Wallace is building a very
handsome home in Holly-
wood. In the process of
building, his contractor sud-
left tor parts unknown ;
wherefore Wallace had to pay
all the gentleman's hills to the
hired help. The consequence
is that his house cost him just
double the contract price.
A sprightly young lady who
runs a gossip column in a local
newspaper has brought word
to a breathless and astonished
world about "slave bracelets." It appears that the thing
to do is to present your favored swain with a bracelet
showing ownership. It seems that Ben Lyon is wear-
ing one and the young lady writer has a feeling that
it was Barbara La Marr who gave it to him ; and John
Bowers has one and Lois Wilson gave one to Richard
Dix. Constance Talmadge, to tease her sister Natalie,
has presented a slave bracelet to Buster Keaton, her
brother-in-law.
J
Above is Nazimova greeting her
director, Edwin Carewe, before
beginning her return picture,
"Madonna of the Streets." Left
is Dorothy Mackaill trying to get
fat on five quarts of milk a day
Right is Beverly
Bayne, the wife of
Francis X. Bush-
man, who is making
"H er Marriage
Vow," while her
husband is in Italy
working in "Ben
Hur"
Irene Rich returned to Hollywood
from Europe the other day, and
the Warner Brothers gave
an immense luncheon in her
honor. Irene thrilled every-
body to the marrow bones by
telling them how she went to
the Queen of England's lawn
party and another time,
danced with the Prince of
Wales. She said all they
talked about was the movies.
Probably to start the right
trains of thought in operation,
many yeanling Hollywood
girls are having themselves
photographed as Peter Pan.
Gladys Hulette says that she
wanted to have some publicity
stills taken in a Peter Pan cos-
tume recently. Every Peter
Pan costume in every costum-
Young Mr.
Ben Lyon,
who has been
in the lime-
light lately,
getting an
eyeful during
the making of
"The White
Moth"
(Sixty-five)
CLASSIC
At the top of the
page is Ben
Turpin in "Two
Week s," bur-
lesquing von
Stroheim and
Elinor Glyn
all in one picture.
Above is Fox's
baby star, Marion
Nixon, getting a
free ride in "The
Circus Cowboy."
Right is George
Fitzmaurice with
Irene Bordoni,
the popular musi-
cal comedy star,
and Samuel
Goldwyn
er's store in town was "out" except one ; and
that one was literally worn to rags by over-
use. Every copy of the book has been worn
to pieces in the public library by ambitious
young ladies seeking to get themselves into
practice — if it should happen.
The month of August, by official decree
of the Mayor of Los Angeles>, was set apart
as "Better Film Month" with street parades
and all sorts of public demonstrations. The
object is to stimulate interest in pictures.
The big exhibitors are alarmed at the falling
off in attendance. It is estimated that the
daily attendance, which was 20,000,000 in
the years between 1912 and 1915, has
fallen off to about 5,000.000. The gen-
eral opinion of picture producers is that
this is not due to poorer pictures ; the trouble is high prices for tickets.
Will Hays is in Hollywood at the time of this writing. He is making a
great crusade against off-color pictures and off-color advertising. He made
an address before a meeting of the Wampas (an association of motion pic-
ture advertising men) at which he hurled fire and brimstone against the
practice of placing decent pictures before the public thru the medium of
smutty advertisements.
Ora Carew's domestic affairs, which usually keep the public keyed up to
a pitch of excitement, took another turn last week. Miss Carew accepted a
vaudeville engagement at a local house. The second day of her appearance
she appealed to the police for an armed guard because she explained that her
husband, John C. Howard, was jealous of the theater manager. Mr.
Howard is, by occupation, a manufacturer of salad dressing. It is suggested
that he has too much paprika in his cosmos.
Shirley Mason has announced her engagement to Harlan Fengler, a dash-
ing young automobile race driver. They are to be married in the fall.
Word comes to Hollywood by the way of private letters that Mrs. Doug-
las Fairbanks, the first, is having hard sledding in Paris. She has dropped
the name of her second husband and calls herself Mrs. Douglas Fairbanks
again. She is said to have
lost a lot of money in the film
ventures of her son, Douglas
Fairbanks, Jr., whose brief
picture career was a tragic
failure. His one picture,
"Stephen Steps Out," is down
on the list as one of the worst
selling pictures of the year.
Alice Terry has announced
that she is a blonde for keeps.
For one of the first times of
her film career, she appeared
with her own hair in "The
Arab." Having taken one
look at herself, Miss Terry
has taken a never-again
pledge.
Oddly enough, the three
women who are always di-
rected in pictures by their
beloved husbands have all dis-
(Coutinued on page 70) ,
(Sixty-six)
Gloria Gould telLs -uhij
the care of the^kiais ^vital
I hi WOMBM of the younger set today never
permit the strain of many engagements or the
attacks of wind and sun to mar the smooth
delicacy of their complexions.
"Fatigue and txpoSMH can leave no trace on
the skin that is cared for by Pond's Two Creams.
Thev are really remarkable."
GLORIA GOULD, who has recently become Mrs.
Gloria Gould Bishop, is the youngest — and many
think the loveliest — daughter of one of America's
oldest families of great wealth. She commands a unique
position in New York's exclusive younger social set.
When in the cream-and-blue drawing room of her
smart Fast Side apartment she gave me her views on
the care of the skin, the simple friendliness of her manner
delighted me, but still more, her vividness, her enthu-
siasm. Even her lovely ivory skin seemed to breathe life.
" Mrs. Bishop," I asked, "what in your opinion is the
most important factor in a woman's looks?'"
"Three things, I think," prompted Gloria Gould,
"are vital to the woman who wants to keep an impor-
tant place in the social world. Fine eyes, white teeth
and a lovely skin. The latter, luckily, any woman may
possess, if only she'll take the right care."
Then we spoke of the young women of her set, who
in their need to keep themselves looking fresh and
lovely have turned to Pond's Two Creams which pre-
vent all weariness from showing and keep the com-
plexion satin-smooth and exquisitely protected.
* * 1
The first step in the Pond's Method is a thorough
daily cleansing of the skin with Pond's Cold Cream.
Smooth it on generouslv over the face and neck. With
a soft cloth wipe it all off, and rejoice at the black look
the cloth gives you! Repeat the process, finishing with
a dash of cold water or a brisk rub with ice.
The second step in the Pond's Method
is to smooth over your freshly cleansed face
a light film of Pond's Vanishing Cream. Do
this before powdering and especially before
going out into the wind, sun, dust or cold.
This delicate cream renders a four-fold
service — it protects the skin from the
weather, gives it a soft, smooth finish, holds
rouge and powder evenly and long, and
freshens and rests it amazingly.
Like Gloria Gould and rhe other smart
young women of the exclusive social set,
you can have an exquisite complexion. Begin
today with Pond's Two Creams. Their daily
use will keep your skin exquisite and with
Gloria Gould you'll agree .they "are really
remarkable ! " Pond's Extract Company.
Gloria Gould's lovely ivory complexion bespeaks exquisite care
THE PRINCESSE MATCHABELLI
MRS. CORDELIA BIDDLE DUKE
MRS. MARSHALL FIELD, SR.
THE DUCHESSE DE RICHELIEU
MRS. O. H. P. BELMONT
THE VICOMTESSE DE FRISE
' MRS. JULIA HOYT
' LADY DIANA MANNERS
These are among the women of distinguished
taste and high position who have expressed
their approval of the Pond's Method of caring
for the skin and of Pond's Two Creams.
t REE OFFER — Mail this coupon at once and we
will send you free tubes of these two famous creams
On Gloria Gould's dressing table stand Pond's
Two Creams which keep the complexion
exquisite despite the strain of social life
The Pond's Fxtract Company, Deft. K
145 Hudson Street, New York
Please send me your free tubes, one each of Pond's
Cold and Vanishing Creams.
Name
Address
c't> State
(Sixty-seven)
Dick at West Point
Below is Dick, dressed
as a plebe, with John
Robertson, his director,
and Cadet Officer E. L.
Johnson. Left is Dick
(first row) in a real
plebe drill
Above is the winning
West Point class
marching out to take
the Oath of Allegiance.
Dick is among them.
Below, he stands with
Mary Hay, his wife
The young
cadets got the
thrill of their
lives being in
the picture
with Barthel-
mess,and some
inter e s t in g
and original
material was
shot
Left is the
fine o 1 d en-
trance gate
where many
scenes were
taken. The
routine was
not disturbed,
Dick was just
included in
the drilling
(Sixty-eight)
-
Women who use the right shade of powder
are never obviously "powdered"
Your powder should always com-
plement the color-tone of your skin
— and be applied to cover it evenly.
3MME. JEANNETTE
COMETIMES we have the experience of sce-
^ ing a woman approaching us on the street
and we havea horrible feeling that her face
is deformed. Then when she reaches us we sec
a very pretty person with her nose so powdered
that it is accented out of all proportion to her
Cue.
This unpleasant result is especially no-
ticeable if the wrong shade of powder is used.
The shade of your powder should match
the natural tone of your skin. If we are
of the Caucasian race, we all naturally think
we are "white" women, and therefore must
use white powder. This is a mistake — there
are several gradations of color-tone in our
skins. Even sisters are frequently found whose
skin-tones are as different as though they be-
longed to different races. So we should study
our skin and determine its classification.
In a general way, there arc four distinct
tones of skin found among the women of
America — the medium, the very dark, the
white, and the pink skin. And because of this
fact there arc four shades of Pompeian Beauty
Powder — a right shade of powder for every
typical skin.
The Medium skin is more variable than
the others. It is harder to determine, for it is
frequently found with light or dark hair, light
or dark eyes, or combinations of middle shades.
The medium tone of skin is neither milk-
white nor swarthy, it is pleasantly warm in
tone, with faint suggestions of old ivory, and
fleeting suggestions of sun-kissea russet.
Medium skins need the Naturcllc shade of
Pompeian Beauty Powder. If you find it diffi-
cult to determine whether you have a light
skin or a dark skin, the chances are that you
really have a medium tone of skin, and should
use the Naturelle shade of Pompeian Beauty
Powder.
The Milk- White skin that is quite with-
out trace of color except where the little blue
veins show is the only skin that should ever
use white powder.
The Pink skin can be turned into a definite
asset of beauty if it is properly treated.
Women with pink skins often make the
mistake of using a white or a dark powder.
They should always use the pink tone of pow-
der— the Flesh shade of Pompeian Beauty
Powder.
The Olive skin. Many artists think there
is no type so beautiful as the clear, dark skin
we frequently see in beautiful Spanish or
Italian women. The shade of powder for this
rich skin is Rachel Pompeian Beauty Powder.
Pompeian Beauty Powder is made from the
■■l Beauty Vowdei
finest, selected ingredients. This powder has
an exceptional adhesive quality that keeps
the skin well covered over an unusual period
of time. 6oc a box. (Canada, 65c.)
The New Pompeian Beauty Powder
Compact — a thin model
Thousands of women who arc devotees of the
superior qualities of Pompeian Beauty Powder
will welcome the news that there is now
available this delightful powder compacted
in a smart new rcfillablc case.
The new Pompeian Powder Compact is a
graceful, round, golden-finished case — thin,
of course, to avoid ugly bulging when carried
in pocket or bag. The top is engraved in a
delicate design, the cuttings filled with violet
enamel, the color that is typical of the regal
purple of the Pompeian products. The mirror
in the top covers the entire space to give
ample reflection and the
lamb's-wool puff has a satin
top. At toilet counters $1.00.
Refills 50c (slightly higher
in Canada).
Get 1925
Pompeian Panel
and Four Samples
This new 1915 Pompeian Art Panel.
' Beaut v Gained is Love Retained,"
Mic 18x7 Yi. Done in color by a famous
artist, worth at least \o cents We
send it with samples of Pompeian
Beauty Powder, Bloom, Day Cream
and Might Cream for ioc.
POMPEIAN LABORATORIES, 111S Payne Avenue, Cleveland, Ohio
Gentlemen: I enclose ioc for the new 1925 ^rt Panel, "Beauty
Gamed is Love Retained," and the four samples named in offer.
Name
Address
City
. State
Shade of face powder wanted i .
(Sixty-nine)
The Hollywood Boulevardier Chats
(Continued from page 66)
solved partnership the same week. Mae Murray is to be
directed by Eric von Stroheim in "The Merry Widow,"
while her husband, Robert Z. Leonard, will go to First
National to direct Corinne Griffith. Mabel Ballin, hereto-
fore working only under the direction of her husband, is
free-lancing, while Hugo Ballin is directing Dorothy
Devore in "The Prairie Wife." And Alice Terry, who
has seldom worked under any other director than her
husband. Rex Ingram, is in "The Great Divide." working
under Reginald Barker. In each case it was a purely busi-
ness separation, no domestic storms involved.
Irving Cummings tells a quaint little story about Carl
Laemmle,- the big chief of Universal. While Mr. Cum-
mings was making a picture for U, an amiable dispute
came up over money. Mr. Laemmle good-naturedly
disposed of it by saying they should toss up a quarter
and decide the matter
was embarrassed the other day when the owner of the pet
seal "Freddie," used in the "Galloping Fish," made her a
formal present of his darling swimmer. She took
"Freddie" home and put him in a fountain in her yard.
The first thing he did was to eat all the goldfish. Love is
at times embarrassing.
They are making a picture at First National, "The Lost
World," in which prehistoric monsters are seen fighting,
breathing, eating, running. It promises to be one of the
greatest trick pictures ever made.
How's this for a test of true love? Rod La Rocque
and Pola Negri, who are reported to be engaged to be
married, are to act in the same picture — "Forbidden
Paradise" to be directed by Ernst Lubitsch.
of the thousand dol-
lars. The old magnate
produced a quarter
and Cummings tossed
it — and won. "Well,
I won,'' he said
absently putting the
quarter back into his
pocket. "Yes, you
won the thousand dol-
lars, but you dont get
my quarter," said
Laemmle, laughing
and holding out his
hand.
Nazimova, who is
working in ''A
Madonna of the
Streets" for Edwin
Carewe, says frankly
that her future screen
career depends upon
this picture. "I didn't
turn against pic-
ture s," she sard
candidly to an inter-
viewer. "Pictures
turned against me.
This picture will de-
cide whether or not
they still want me."
The truth, of course,
is that pictures did
not turn against
Nazimova. She will
be always recognized
as one of the great
artists of the history
of the screen. She
was all but wrecked
financially when she
tried to make a too-
high brow picture out
of "Salome."
Louise Fazenda
At the time of going to press the producers are still dead-
locked over the choice for Peter Pan. It's been worse than
the Democratic convention. By the time this appears some-
one will undoubtedly have been chosen, but no matter who it
is, Classic still casts all its votes for Mary Pickford and
will keep right on doing it indefinitely
John Bowers has
taken a leave of ab-
sence from his film
work to train for an
automobile race to be
held Thanksgiving
Day. It is regarded
as the most danger-
ous course over
which a race has ever
been attempted. In
some places the
grades are so steep
that the wheels skid
when locked, the
brakes will not hold.
Ian Keith is the
latest sheik to thrill
Hollywood. He was
brought out from
New York to appear
with Florence Yidor
in "Christine of the
Hungry Heart," at
the Ince Studio. He
is handsome, but
haughty.
Madge Bellamy has
been selected to play
the lead in Adela
Rogers St. John's
"Inez of Hollywood."
Anna Q. Nilsson,
Lloyd Hughes and
Lewis Stone will also
be in the cast.
S a m u e 1 G o 1 d w y n
has won a decree
from the courts per-
mitting him to use his
own name in his own
(Contd. on page 82)
(Seventy)
1'ONt' »"* '
«••• JON'.IO'.
CAREFUL, conscientious training by members of
our faculty made this possible. Today, trained
illustrators who draw pictures for magazines,
newspapers, etc., both men and women, earn $200.00 to
$500.00 a month and more. The present splendid oppor-
Mp^papj ■PQBH tms ^c'<' have never
|^^^^| )g ^ been excelled. Thousands of
^"*J Itr S,,*J publishers buy millions of dollars
^sj jft worth of illustrations, like the
km a mm M one shown here, every year.
Illustrating is the highest type of
art. If you like to draw, let your
talent make your fortune. De-
velop it. It takes practice, but so
does anything worth while.
Learning to illustrate is fascinat-
^MtV ^^\ I ing to anyone who likes to draw.
"J f- -4%J The Federal School, one of the
A ?T ', rm oldest and largest art schools in
^\^ ,J^>C America, has trained hundreds
of successful illustrators. It was
originally founded by the Bureau
of Engraving to sapply artists
for its own needs. Since then
Federal School graduates have
become so distinguished for their
2« high quality work that they are
in great demand by publishers
VI ^^^-J an<^ art organ'zat'ons- The rea-
r M PV^B son *or this was plainly because
^f Bk^vl of the thorough training given by
cl»«i an'oct
SOt>M flOCKAlLt
»O^T* S| »C,
$500^
IN ONE MONTH
DRAWING
Othd institution in the country has such an array oi
.n-ti-t- .l>. .ir<- on ttu- Federal StafT.
The Federal Authors
The Federal Authors include such nationally known
artists as Sid Smith, Xeysa Mi Mi in, Fontaine Fox,
Charles Livingston Bull, Clare Briggs, Norman Rock-
well, Fay King, Frank King, Charles Russell, Her-
bert Johnson, Walter Wilwerding, Charles Bartholo-
mew and over fifty others. Exclusive original lessons
and drawings especially prepared by these famous
artists are included in the Federal Home Study Course.
They teach you everything you need to know about
illustrating so that when you finish the course you
will not find anything new to you. You will be pre-
pared for any problem or emergency which may arise.
The Federal Course is a Proven Result Getter
Federal School Graduates are employed by pub-
lishers and commercial organizations all over the country. The
usual salary for the beginner is from $35.00 to $50.00 a week
and, with increasing experience, promotion is rapid. Xo previous
experience is necessary in order to take this course. Every step
is plain and you will be led gradually from simple sketches to
complex illustrations having a high market value. At all times
contact with you is direct and personal and every effort is made
to develop your own individual style. What this style is can only
be determined after thorough training in the fundamentals of
draftsmanship.
Study at Home in your Spare Time
In studying with the Federal School you can take as long as
you like to finish each piece of work. The fact that you are
busy during the daytime makes no difference. The course may
be completed in your own home at night or during any spare
time you have. Earn while you work \( you wish. Many
students find a market for their drawings long before they finish
the course. Some earn the price of the course several times
over before they finish. Moreover, when you graduate your con-
nection with the school is not terminated. We take a personal
interest in the success of our graduates and our business connec-
tions enable us to offer many fine opportunities. In our files are
hundreds of letters from students telling what the Federal School
has done for them.
Send for FREE BOOK
Our free illustrated book, "A Road To
Bigger Things" contains some of these. It
also shows the work they have done and
gives all the details of the course.
If you like to draw, do not give it up for
something you do not like so well. You
owe it to yourself to develop the ability you
possess. Fill in the attached coupon, mail
it today and start up the "Road To Bigger
Things."
MAN! ftINC
the school, instruction which was
4HjW not duplicated by any other in- ^mir M mTrnw ^>£% W ^S^^/u'
I - <^| ' ~*wi stitution in the country. ^^M^^^^^ ^^*mT ^^f\m
fd.M Why the Federal "Master ^^JL QPC^-A-^+i .
Zf™ .^3!K! Course Excels V ^/UuUJiihCUlIXCP
A strictly up to date and practical art course must give ^m
thorough and comprehensive training in many different subjects .„.•••-.•••....•.........--.•••••••___•_
such as illustrating, serious and comic cartooning, lettering, FEDERAL SCHOOL OF ILLUSTRATING
poster designing, window card illustrating, etc. No one artist is 1075 F*d*ral School Building, Minneapolis, Minn.
competent to give instruction in all these branches. For this rea- N .
son the Federal School has established its "Master Course," in e g
which every subject is covered by a specialist, an artist who has Address
made a success in that one particular field. Xo other school
can offer a course of instruction which is nearly comparable. No
(Seventy-one)
N IbeiDviellncyclopdecli
Dot B. — I hope you have had a pleasant summer. Mahlon
Hamilton and Lillian Rich played in "Half a Chance." Glenn
Hunter played in "Grit." D. W. Griffith has signed a contract
to make pictures for Famous Players, at a salary of $10,000 a
week, to take effect after completion of his latest picture for
United Artists, entitled "Dawn." Under his new contract, Mr.
Griffith is to produce three pictures in two years.
Washti. — But, we promise according to our hopes, and perform
according to our fears. Address Mary Hay at the Abbott Cottage,
Mamaroneck, New York. Betty Blythe, Lon Chaney and Forrest
Stanley have been added to the cast of "The Breath of Scandal."
Bonnie. — You must not believe all the critics. Burns once
said : "Critics are cutthroat bandits in the paths of fame." Well,
I am over eighty, whether you believe it or not. Plenty of butter-
milk is the secret. So you didn't like Gloria Swanson in "The
Society Scandal." You dont like her new personality. Well,
you must grant she can wear clothes. Clara Bow is nineteen.
Ben Lyon is twenty-three. Mrs. Wallace Reid is playing in
"Broken Laws" for F. B. O.
Rhea R. — Thanks a lot for the fee. Ramon Novarro at Metro-
Goldwyn, Culver City, California. Enid Bennett, also. Dorothy
Mackaill is with Principal Pictures, 7250 Santa Monica Boulevard,
Los Angeles, California. Well, I hope I am sane. The defects
of the mind, like those of the face, grow worse as we grow old.
Reed Hawes, the Arrow collar man, and Lefty Flynn are playing
in F. B. O. pictures.
Mimi H. — Most of the players you mention are with Famous
Players.
Ginny.— Well, to fall in love is much easier than to get rid
of it. Enid Bennett with Metro-Goldwyn and she was born on
January 22, 1896. No, I dont think Richard Barthelmess and
Lillian Gish will play in "Romeo and Juliet." Lucille Ricksen
is only sixteen and not married.
M. C. B., N. J. — That was Joseph Schildkraut in "The Song of
Love," and Rudolph is his father. No, I never did hear what
happened to Irene Rich's husband. Wanda Hawley, Nigel Barrie
and Pedro de Cordoba are playing in "The Desert Sheik," which
is taken from the Conan Doyle novel, "The Tragedy of Korosko."
Florence S. — No, I never got the cast for "The Timber Queen."
I should say not, Florence, no picture of me. Yes, I like all
the players, no favorites. Anna Q. Nilsson is playing in "Vanity's
Price," for F. B. O. It' was made under the working title of
"Purchased Youth," and concerns a woman who has been re-
juvenated.
Ellen A. — You can get the September, 1923, magazine by
writing to our Circulation Department, at this address.
Fay Blossom. — It is difficult to define love; we may say of it,
however, that in the soul it is a desire to. reign ; in minds it is a
sympathy and in bodies a secret inclination to enjoy what we love
after difficulties. No, Gloria Swanson
is not dead. You must not believe
all you hear. Thomas Meighan is
playing in Peter Clark Macfarlane's
novel, "Tongues of Flame."
Classic Reader. — Thanks for
yours — I know that Monte Blue has
been married, but he isn't now.
Sunny. — It is impossible to love
those a second time whom we have
really ceased to love. Yes, the Moore
boys are brothers. Ernan Hansson
in "The Blizzard." He is a for-
eigner, you know. Tom Moore has
been engaged to play opposite Bebe
Daniels in "Dangerous Money."
This department is for information of general interest
only. Those who desire answers by mail, or a list of
film manufacturers, with addresses, must enclose a
stamped, self-addressed envelope. Address all in-
quiries: The Answer Man, Classic, Brewster Build-
ings, Brooklyn, N. Y. Use separate sheets for matters
intended for other departments of this magazine. Each
inquiry must contain the correct name and address
of the inquirer at the end of the letter, which will not
be printed. At the top of the letter write the name
you wish to appear, also the name of the magazine you
wish your inquiry to appear in. Those desiring imme-
diate replies or information requiring research, should
enclose additional stamp or other small fee; otherwise
all inquiries must wait their turn. Let us hear from you.
Robin DeG. — It is most dangerous nowadays lor a husband to
pay any attention to his wife in public. It always makes people
think that he beats her when they're alone. The world has grown
so suspicious of anything that looks like a happy married life.
I understand First National will film "The Life of Christ." Buck
Jones in "The Desert Outlaw."
Renault. — Well, I have never found the one best seller to be tlu
wine cellar. That was an interesting picture of the tree growing
from the stone roof of the court-house tower in Greensburg, In-
diana. It was a very interesting picture. The soft maple fifteen
feet six inches seems to have rooted from seed carried by birds in
1872, now fifty-two years old. Address Rod La Rocque at the
Famous Players Studio, 1520 Vine Street, Los Angeles, California,
and Nita Naldi at Famous Players, Astoria, Long Island. Mary
Pick ford at Pickford-Fairbanks Studios, Los Angeles, California.
M. E. F. — Most of the players you mention are with Famous
Players, at the above address.
Miss L. O. — That was good of you, and I hope you received
your answer by now.
M. C. B. — Conceit may puff a man up, but never prop him up.
Doris Kenyon is playing in "If I Marry Again." Sylvia Breamer
arid Ben Lyon also in the cast. Well, it happened this way. About
twenty-eight years ago, short-length pictures were shown at the
Eden Musee on 23rd Street, New York City. They were "The
Crying Baby," "Jumping the Hurdles" and "Feeding the Sheep."
The first three-reel subject produced in America, so far as I
know, was the "Passion Play," about twenty-six years ago. It
was taken on the roof of the old Grand Central Palace and ran
continuously for nine months at the Eden Musee and was con-
sidered to be the highest production of the cinematograph art
at that time. That was Joseph Schildkraut you speak of.
John? — All right, John, see how prompt I am? Baby Peggy
was born October 26, 1918. Address her at the Sol Lesser Pro-
ductions, 7250 Santa Monica Boulevard, Los Angeles. Richard
Talmadge is playing in "American Manners." Helen Lynch
opposite him.
Irish. — If you marry a girl who is disagreeable to every one
but you, you will get your share of it — after the knot is tied.
Robert Ellis is married to May Allison. Helene Chadwick is
playing right along. No trouble to answer your questions. Be
sure to write me again.
Dream. — Yes, Alma Bennett is five and one-half feet tall and
weighs 130 pounds. She has dark complexion and black hair and
brown eyes. You are right. We are by no means aware how
much we are influenced by our passions.
Edith. — That is Irene Rich's real name. Jackie Coogan at
Metro-Goldwyn. " Why Marion Davies has a sister, Rosemary,
and another, Renee. Glad you like the Classic. Tell us what
you like and what you dont like about it.
Elita. — No, I dont mind getting
old. even tho old age is a tyrant,
which forbids the pleasures of youth.
Harrison Ford is playing opposite
Rosemary Davies in "Souls Adrift,"
after which he will return to play
opposite Marion, her sister, in "Zan-
der." He recently played with
Marion Davies in "Janice Meredith."
Margaret R.— You want to know
why Cecil De Mille had Miriam
younger than Moses, when the Bible
says that Miriam was old enough I
to care for Moses when he was a
boy. I really dont know.
(Continued on page 74)
(Seventy-two)
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Name
Address
City State.
J
(Seventy-three)
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The Breath of Scandal
Do you prefer to know "the
truth" about the private lives
of your favorite stars? '
Does this make you more —
or less— interested in their
films?
Gladys Hall puts this ques-
tion to the readers of Classic
in a lively fashion.
Animal Actors and Human Stars
They work together very calmly (sometimes) says Dorothy DonnelL
And as for the pictures! You'll want one of the cubs, or perhaps
a full-grown tiger, the minute you see these photographs we have to
illustrate the story.
The Man Who Sold Himself
Monta Bell, the director of one of the best pictures of the year,
"Broadway After Dark," broke all the supposedly cast-iron rules
for directing. And got away with it. Jim Tully tells the story.
On the
news-stands
NOVEMBER
Q motion picture:
JKSSIO
That "Different" Screen Magazine
October 12th
The Movie Encyclopaedia
{Continued from page 72)
Arnold B. — That was Marion Nixon in
"Circus Cowboy." Hope Hampton is
going to play in a series of one-reel fashion
pictures in which she will display the ex-
tensive wardrobe that she purchased in
Paris with her husband, Jules Brulatour.
Buck Jones in "The Desert Outlaw."
Movie Fan. — You should see me in my
one-piece bathing suit. Yes, Patsy Ruth
Miller and Matt Moore are playing in
"The Girl on the Stairs." Percy Marmont
and Zazu Pitts have the leads in "The
Legend of Hollywood." William Duncan
is with Universal. Ben Lyon with Famous
Players.
Billy F. — Just pronounce it Ne-gree.
They say she was born in Poland, of
German extraction. Gloria Swanson and
Pola Negri are each twenty-seven years
old and Thomas Meighan is forty.
Myrtle H. — Well, the pleasure of lov-
ing is, to love ; and we are much happier
in the passion we feel, than in that we
excite. I'm not much of a connoisseur on
the subject, being an old bachelor. Harold
Lloyd at the Harold Lloyd Studios, 6642
Santa Monica Boulevard, Los Angeles,
California. Edna Murphy is with Pathe.
Yes, the Lloyd daughter is named Mildred
Gloria Lloyd.
Billy. — Pearl White has red hair.
Norma Talmadge has dark brown. Buster
Keaton has purchased the screen rights
to "Seven Chances," from the stage-play.
French Doll. — Sometimes I consume
as much as two quarts of buttermilk a day.
There's nothing like it. Alice Terry is
with Metro-Goldwyn. No, I never heard
the answer to question Number two.
Ramon Novarro is with Metro-Goldwyn.
Betty Sweet 16. — You must write to me
whenever you feel like it. I nearly died
with the heat this summer. Besides my
movie fans, I had all the electric fans
going. Yes, I read "A Tale of Two
Cities," quite some time ago.
Cutie. — Pola Negri was born January
3, 1897. You know her father was a
gypsy and her real name is Apollonia
Chalupez and she was once the Countess
Dombski. She appeared in the Russian
Imperial Ballet and her first picture shown
in this country was "Passion." She is five
feet four and weighs 120. Black hair and
grey-green eyes.
Serial Fan. — Moderation resembles
temperance. We are not unwilling to eat
more, but are afraid of doing ourselves
harm. Marie Prevost and Raymond Mc-
Kee have the leads in the latest Grand-
Asher production, "Desires of Men." You
refer to G. O. Williams and George Routh
in "Hazards of Helen." ''"hat was some
serial.
The Westerner. — You cant be so bad-
Wild oats never grow near wall flowers.
Robert Frazer was born in Worcester,
Massachusetts, and W'illiam Boyd was
born in Cambridge, Ohio. Constance Binney
is touring for the stage right now. That's
all right, I dont mind.
Beaver Meadow. — Bebe Daniels in
"Dangerous Money" with Tom Moore.
Norman Trevor has been signed up by
Famous Players as leading man in Gloria
Swanson's "The Wages of Virtue."
Teenee. — No, I am not a genius; if I
were I could cheat my grocer, rob my
neighbor and betray my friend's wife, and
all would be excused. That is Robert
Agnew's real name. He was born in Day-
ton, Kentucky, in 1899. His first big part
was in "Clarence."
N. D. G H— You must not.
A Collecting Bug. — You've got it too,
(Continued on page 87)
(Seventy-four)
jlgfgigjgjgjgMgjgMfflgjgjgMgMBjafsreuBiBiaiBiB^^
B
rewmg
Beauty
'Olive oil, oatmeal, lemons, salt, and cornmeal!
Any bachelor would order this list of groceries for food, and for food only.
But a woman buying these things might not have thought of eating them.
Far from it! But she would use them in another life-saving way which is,
perhaps, just as valuable — for the magic beautifying properties. It s aston-
ishing what happiness and comeliness can be found on the pantry shelves.
If you believe it isn t so, read all about what s what, in The Kitchen Beauty
Shelf. And when you have read, you 11 not be able to resist trying their
effects on that ever-present problem that is yourself.
The Problems of the Girl Who
is Not an Acclaimed Beauty is told by
Alice Brady, the very attractive stage and
screen star. She writes of the joys of the
girl who has no worries about the sun, or the
wind, or rain, butwho has other cares. ...
The Problems of the Acclaimed
Beauty are those that concern Mary
Eaton. She is well qualified to write on this
subject, for is she not radiantly, blondely,
beautiful? And hasn t she been "glorified
by Mr. Florenz Ziegfeld in his Follies?
The motlth is a '"dead give-away," If yOU care to keep your five senses
says Penelope Knapp. And it isn t so much '"until the end, you 11 care for your eyes
the words you speak that counts; it s what and ears and nose now. See how to do
your mouth says when you are silent. this in Coddling the Five Senses.
/ft©<avit
Foi
NOVEMBER
'»
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Stonehenge, the ancient Druid temple whose mystery will never
be solved, where Tess went out to die. This is the original pile
of strange grey granite undisturbed for centuries
Tess of the D'Urbervilles
(Continued from page 60)
scraping old grandsire and strode
into the yard where she was digging
in their standing garden, with his
lordly air of owning the earth by
right of inheritance, Tess only flung
back the dull gold wisps of hair with
one arm and listened to what he had
to say.
Old flames fanned themselves to a
blaze behind Alec's dark eyes as he
looked at the sweet curves of her
young body in the tight outgrown
gown. He was sorry, he said with
a light laugh, for the way things
had gone with her, but he was will-
ing to make amends.
"I couldn't forget you, Tess!" his
hand was hot on her bare arm.
"You were such a sweet little thing,
but upon my word now you are
positively beautiful ! In the right
clothes — with the jewels and furs
that belong with beauty, why there
isn't a woman in London could touch
you !" He had come prepared to
override her fury but this still calm
disconcerted him, and intrigued his
fancy. "Listen, Tess ! Come to
London with me — let me give you a
fine apartment — clothes, luxury.
I'll see that your family is taken care
of for life!"
"You know," said Tess in a flat
voice, "that I'm married?"
Alec D'Urberville laughed, "I
heard all about that ! You'll never
see that sanctimonious prig of a par-
son's cub again. Come to London,
Tess, where you'll be appreciated !"
He saw himself beside this glorious
creature in the opera, stared at
enviously. "Damn these gaping
clowns! I'm afire for you, Tess!
You beauty — you cold tantalizing
beauty! I want to kiss you all over
from your golden head to your little
feet."
"I ought to hate you," Tess said
wearily, "but somehow I cant feel
anything any more. Maybe I will
some day, and then you will be sorry
I came with you. But perhaps my
heart is dead — it feels dead, and
cold — and so if you will give my
mother a thousand pounds so the
little ones wont go hungry I will
come to Lunnon."
With the voluptuous idea of giv-
ing his passion a perfect setting,
D'Urberville made no attempt to
claim Tess' promise until he had in-
stalled her in a handsome apartment,
and bought her the clothes that
would flatter her strange white
loveliness. Like a marble woman,
Tess stood in softly lighted, deeply
carpeted rooms while they put soft
silks and chiffons and laces upon
her, did amazing things to her hair
and skin, decked her with jewels.
The winds were whirling the lost
leaf into strange places, and the
wind was too strong for leaves.
She moved thru the days and the
new sights and sounds like one in
a trance, and Alec D'Urberville, see-
ing, smiled a distorted smile. When
the time came he would waken her,
and — he drew a slow breath — the
time was almost come. He had
chosen the horse show as the setting
for his first display of Tess in all
her glory.
The world could not know it was
a dead woman sitting in regal dis-
dain of their staring eyes in the box
beside the handsome, insolent young
man who gazed at her instead of at
the ring. They couldn't know that
when she leaned forward suddenly
and looked down at someone in the
audience below they were witnessing
a dead woman coming to life with all
the agony of the birth throe. But
Alec D'Urberville, following her
eyes, had seen the tall, slender man
who started up from the benches and
was fighting his way thru the crowd.
His fingers sank into Tess' bare
(Continued on page 85)
(Seventy-sis)
A Thousand Dollars a Day I
(Continued from pogt 40)
know, bul Cruze wanted to talk
about far places. "1 low do you «li
rect, Jim " i 'raze hates to speak in
the first person.
"Dont know," he answered. "Donl
like to talk about pictures. Direct on
impulse ; wait foi o< casions. Put in
the thing I think is real. Don! follow
rule- Never did. Never will."
"What quality is absolute!) essen-
tia] in directing
"Resourcefulness bul hell, a fel-
low has to he resourceful if he drives
an automobile a hundred miles."
He really does not like to talk pic-
tures, hut in talking about life- he's
a great conversationalist. One can
see that he abhor S the academic and
bloodless makers of rules that real
talent breaks. For the benefil of the
longhairs taking walks in pseudo
Greenwich villages, Cruze never uses
the word "art." And for the benefit
of the too well educated it may be
well to remember that Cruze is a
brilliant man and had less schooling
than any man 1 know schooling in
the academic sense.
"What is your routine of direct-
tog?"
"There is none. It changes with
every picture. No two pictures —
no two situations — even no two
leaves are exactly alike. A fellow
cannot steep himself in stock meth-
ods, he's got to have guts, imagina-
tion, sympathy. He must make the
story live. But I've said enough."
I once talked with an old Mormon
in Salt Lake City. The conversation
turned to the best-known man from
Utah.
"You know," he said, "about seven
years ago a young fellow came down
here from Hollywood and talked to
a lot of us about filming the history
of our coming across country in
wagons. He said he'd weave a love
story thru it and make it a big pic-
ture and we'd all make a lot of
money. He stayed down here with
us four weeks hut none of us would
spend any money, for we all knew
the youngster and didn't think he'd
make good. So he went back to
Hollywood and we decided to make
use of his idea. We made a picture
giving our entire history — but I
guess it's no good. We're ashamed
to show it to anyone now. Anyhow,
the fellow who talked to all of us was
that youngster we all know. Jimmy
Cruze. So you see. he had that pic-
ture in his head a long time — or one
like it, 'The Covered Wagon,' I
mean. That Cruze hoy always was a
smart kid."
Jim Cruze entered pictures in 1908
— rather a long time ago. In fact.
J
X
/
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Film is the teeth's great enemy
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best and cheapest telephone service, is the responsibility of the Bell
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of to-morrow.
The service which is given to-day was anticipated and provision
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many of the leading financial men in
pictures were still in the cloak and
suit business and had not developed
the spiritual in their natures in 1908.
Cruze played leads for some time
and then started directing, his first
picture being "Too Many Millions,"
in which Wallace Reid was starred.
Since that time he has made many
good pictures and it is claimed that
he is the only man in Hollywood who
has never made a financial failure.
That is not a bad record for a lad
brought up in tent shows and on
freight trains and fishing vessels.
Cruze is the master of broao
and subtle humor. Like all people
with a delicate sense of humor —
Cruze may be laughing at you and
not with you — and you may not know
it. Cruze learned so much about
chivalry and all-round fakiloriums
in the salons of fishing vessels, just
as Shakespeare learned so much
about English aristocracy while hold-
ing horses in front of theaters. I
said before that Cruze just is. He
has something that approaches
genius. A better-rounded man than
Griffith — not a propagandist — an art-
ist if you will — and like all real
artists . . . unconscious of it. . . .
The First American Director.
Jetta and Her Temperament
(Continued from page 21)
part out here in one of Cecil De
Mille's bath tubs. It would be a
change." But when she came to ex-
amine her part she found she was a
young lady of unfortunate morals in
a French dancehall. She sighed and
made the best of it — or the worst of
it, whichever way you look at it.
Her first days in the part showed
her to be a thoro and a subtle artiste.
She has the French instinct for ges-
ture and the French adroitness of
suggestion. Also she is really beau-
tiful in a strange exotic way. She
suggests both Pola Negri and Bar-
bara La Marr — a more tingling and
more electrical Barbara.
So far she hasn't exhibited the
famous Jetta temperament except to
cry when the railroad lost her trunks.
But Hollywood reflects with the
gooseflesh of anticipated thrills that
Pola and Jetta are working on ad-
joining sets. And if they should
ever ! Oh, my. . . .
Welt, they never did! Since this
sketch was written , Jetta Goudal has
left Hollywood and is playing in
"The Sainted Devil" with Valentino
in New York, and to date she seems
to have the famous temperament un-
der perfect control. — Editor's Note.
(Seventy-eight)
The Romance of the Extra
of Princeton and his real ambition
i> to become a playwright. So be i->
Studying at first hand stage direction,
etc. I le has one more year to
I certainly wish him hick. 1 le has
ted a play ami from what In-
to nit- I think he has a chance.
There are four boys from my
home town, Oakland. California, also
king as extras I lu \ arc stud) -
ing art here, and between their pa)
and selling an illustration now and
again the) manage t>> live. \lto-
er I found twenty-one hoys who
studying in the universities here
in New York City working in "The
Miracle" to defra) expenses. Several
of the dressers also act as extras
and each one has an objective in life
not seen on the surface. ( >ne is
studying law, another medicine, and
another is studying stage direction.
The most remarkable character of
all is "Mother." She is eighty-four
rs old and everyone in "The
Miracle" loves her. She dances and
jigs with wonderful agility for one
of her years and is always "the life
of the party." She is all alone in the
world, only six years age losing her
husband, two sons and a daughter
thru the capsizing of a catboat.
She has had enough happen in her
long life to kill a hundred women
and certainly enough to sour her
whole outlook on life. "Mother,"
however, is always cheerful.
I almost forgot one old gentleman
who was a scout with Buffalo Bill
and traveled with every wild-west
show of the past. He could tell the
most hair-raising stories and I be-
lieve everyone was true. Anyway,
we were always willing to listen.
And there were many others, each
one with a story to tell, but all, no
matter how old. with hope for the
future. There was not a pessimist
in the lot. That is the lesson the
extras of "The Miracle" taught me.
and no matter how much good the
role of The Knight may have done
me professionally it is nothing com-
pared to "the lesson" I learned
among my friends of extradom.
REBUKE
By James Courtney Challiss
White-hot with temper, from his raging
throat
Came crimson, hell-hued words that flamed
With hate till— suddenly— the vocal cords,
With curses burnt, snapped like a string
And left him dumb !
Thru all the long years dumb-
But calm.
And kind.
And loving.
(Seventy nine)
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WHEN Puck was abroad with his
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K~The Unknown
{Continued from page 30)
followed we may be spared. The
woman was beaten and the man was
free. It is always this way, the only
pity is that women have not learned
it. Goaded to desperation by Car-
lotta's persistence, Max had flung out
of the room in his excitement, say-
ing, "I'm thru with you, thru, under-
stand," all the way down stairs.
Poor, frantic Joe waiting at the
foot of the stairs overheard the angry
threat and thought naturally that it
applied to Sidney. The boy's mind
snapped. He pulled out a gun and
closed his eyes and fired twice. The
doctor dropped untidily to the floor
and slipped in a ghastly comic sprawl
down the stairs. "You dirty cad!"
screamed Joe, mad with excitement
and terror. "You dirty cad — to treat
a decent girl so !"
"Never mind that, young man,"
said the proprietor, "just come along
with me."
Doctor Max still breathed and he
was carried thru the excited diners
to an ambulance from St. Luke's that
Carlotta had summoned. She fol-
lowed him to the hospital to await the
verdict of the staff who discussed the
case in shocked excited whispers.
One by one they came away from the
sick room, each one graver than the
other. "No hope," was the verdict
Carlotta read on every face, but Car-
lotta knew there was one man who
could save him.
Throwing a shawl over her eve-
ning gown, she ran panting thru the
dark quiet streets of sleeping Char-
lottetown to the home of Sidney
Page, but it was not Sidney she
wanted, Sidney was at the hospital. It
was K. Le Moyne, K., the unknown.
"I cannot — I cannot," groaned the
man in response to her frantic plead-
ing.
"You've got to," said the woman
doggedly, "you're the only man who
can save him. You're in my power,
'K. Le Moyne.' Do you want your
past to kill your present? Do you
want those dead ?"
"Stop !" cried the tortured man.
"The price of my — my silence
then," went on the woman, "is that
you operate at once on Max Wilson."
"All right," agreed the man
wearily yet with a note of hope in his
voice.
"There is everything you need at
the hospital," said Carlotta. "I'll ex-
plain. I can fix it. Come."
"Gentlemen," she said a few
breathless moments later, standing
with K. before an astonished group
of physicians, "here is a surgeon, in-
cognito for the moment, who can
save the life of our Doctor Max. I
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will stake 111% life on tli.it Ma:
dearer t<> me than anything in the
world " her voice broke, but
went "ii, "I know this man t .in
him I If must be allowed to operate
at on
l tesperate measures < equii
te remedies, ami it was not l<
before patient and doctor ami a
cinated group "i nurses ami int< i
win- assembled in the ope rati
room. Carlotta was nut allowed to
enter ami after pacing the eon idor
outside in a frenz) of anxiety, she
wen! down to thf restroom where
Sidney lay asleep on a couch all un-
conscious of thf mail excitemenl on
the top Boor. She woke her savagely.
"Doctor Max i-- upstairs being
operated on by K. Le Moyne," she
in cruelly. "Me was shot by
Joe Drummond because he thought
you were in a private room with him
at Schwitters. I was with him. lie
loved me once. We lived together
lor years before he came here. Me
was 0 marry me and then yon
came along. I got you suspended
i'r >m the hospital and while yon were
gone he was mine again — my lover,
do Mm understand?"
Sidney went white and red by
turns. Xo words came to her
trembling lips. She could only stare
at the agitated woman dumbly while
many sharp disjointed phrases tore
thru her stunned brain: "Max shol
— dying — K. — Joe Drummond — K.
Le Moyne — he was a doctor — a
■urge, hi hut what terrible thing had
done that the law wanted him —
-he was his dear — he had said it —
Max, Carlotta's lover — oh, misery —
she must tell K. — he would know
what to do — but he was operating on
Max — where "
Two men entered the room at the
same moment. "Me lives?" breathed
Carlotta to one of them.
"Yes, he'll be all right," answered
K. "Sidney, dear," he said, turning
t; i ward her, "will you let me tell you
a story "
"Oh, K," wept Sidney in his arm-.
"Carlotta has told me that Max i-
her— her "
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"Which one of you calls himself, 'K.
Le Moyne?' " he asked suddenly.
K. stepped forward and Sidney
with him clinging to his hand.
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boyant gesture such persons always
employ.
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1 ROYALSSSSS?
35 MaidenLane NewUbrlc
breath. Dr. Edwardes ! The fam-
ous, infamous Dr. Edwardes ! The
finest surgeon that ever lived who
had suddenly gone off, and killed one
patient after, another by a criminal
carelessness that had forced him
finally to flee for his life, a harried
fugitive. But no wonder he had been
able to save Max Wilson's life.
There had never been anyone to
equal him. Carlotta should be grate-
ful. . . .
Carlotta was grateful, just how
grateful she was soon to disclose.
K. gently released Sidney's hand.
"It is true," he said, "but I wanted
to tell you first. There were things
I could never understand and I
I lost my nerve. Good-bye, little —
friend "
"Oh, I cant believe this," cried
Sidney, suddenly seizing his hand
again.
"You dont have to," said a voice.
"I alone am responsible for the death
of Dr. Edwardes' patients. I did it
so that Max Wilson would get his
place on the staff at Flower Hospital.
I loved him so — I loved him so — '
he said he'd marry me when he got
on the staff — and now — oh, God! I
still love him " Carlotta's voice
broke in rasping sobs. The detective
touched her gently on the shoulder
and she mercifully lost consciousness.
The first thing Dr. Edwardes did
after his public exoneration was to
get into trouble again — at least some
folks call it trouble. What he did
was get married. And Charlottetown
forgot that he had held himself aloof
from them and they from him and
turned out to the last man to see the
stranger ride away in the biggest
limousine its collective eyes had ever
witnessed, appropriately placarded
and properly burdened with its fav-
orite daughter, Sidney Page — no —
Sidney Edwardes.
The Hollywood Boulevardier
Chats
(Continued from page 70)
productions. The Goldwyn company,
with which he is no longer connected,
raised strenuous objections to two
Goldwyn names in the field.
* * *
Wallace McDonald, who is on loca-
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(Eighty-two)
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Rex, Kin-, of Wild Horses
(Continued from page <•! |
thereafter u the i lie in working the
horse. After each successful scene,
where the horse performed as wa
wanted, Morri on gave him :i i arrol
as a reward. 1 1 he was obstinate and
would not work properl) . he was de
nied this reward, instead of being
beaten. 1 1 this picture is the b
office success that is anticipated, and
that present returns indicate ii will
be, I l.il Roach is deeply in debt, first
in Morrison, dun to the lowly carrol
which played such an important role
in this production.
Vfter the picture "King of Wild
Horses" had been completed, a greal
amount of trouble seemed to brew re
garding its release to the public.
Several persons interested in the pre
Million of cruelty to animals cm
piratically announced that they would
seek an injunction against its show-
ing. They knew, so they Mated, that
no animal could do the work that Rex
had done, unless some inhumane
treatment was used. They would
lake no one's word for it that the
horse had not been beaten, yet they
refused to have it proved to them that
he had not. After much persuasion
they at last consented to go to the
Roach ranch and see Rex work.
At the ranch, Morrison had Rex
do all of his stunts. The man was
empty-handed, save for a few carrots
with which he rewarded the animal.
When seeing this, the men remarked
that they would like to see how the
animal acted when a club or a whip
was used. Morrison told them that
he did not even want to try working
the horse with a weapon of any sort.
They became suspicious and cast in-
sinuations that the horse might show
his mistreatment by acting cowed
when a whip was produced.
"I will willingly show you this,"
said Morrison, "but I would prefer
one of you gentlemen acting as both
trainer and judge."
The men refused to do this and
told Morrison that it was useless for
him to do it as they had arrived at
their conclusions and their minds
could not be changed.
After having sacrificed and strug-
gled for months in the making of the
picture, to say nothing of the huge
expenditures, Morrison naturally be-
come somewhat peeved.
"I'll show you gentlemen that it
would be a physical impossibility as
well as near suicide for a man to try
and beat this horse."
He released Rex from his stall.
The horse bounded out into the cor-
ral and trotted down to the end oppo-
site from which the two men were
standing. Morrison walked over to
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an old motion-picture set and picked
up a piece of two-by-four. Coming
back lie walked toward Rex. When
within a few feet of the stallion, he
started cursing the animal and raised
the club over his head as if to strike.
In an instant Rex turned to a demon.
Rising on his hind feet he rushed
toward Morrison, pawing the air as
he came. His ears lay straight back-
on hjs head. His eyes burned with
the hatred that he had always har-
bored for man. By this time Morri-
son had jumped out of his path. It
was not Morrison in particular that
Rex was after. He had again been
offended and he hated all men. He
trudged on toward the two visitors.
Much to the mirth of Hal Roach and
Morrison, who stood on the side
lines, the two men who claimed that
Rex was cowed, tried to climb into a
small feed box about large enough
for a good-sized kitten. With a well-
placed roping, Morrison rescued
them from their plight. The two
men left and have not been heard
from since.
Rex is still wild. His new en-
vironment has not changed him with
exception of his love for Morrison.
Note to Editor. — Since the writing
of this article, Morrison was killed in
a tragic accident, while riding the
horse that was to have played the vil-
lain in Rex's next picture. This will
upset considerably the plans for the
next picture and it is rumored that
Hal Roach is having considerable
trouble finding a man to handle the
horse, which is natural, under the cir-
cumstances. Morrison's brother, Carl,
will probably be selected to fill the
vacancy left by Chick, — T. R.
AUTUMN
By Faith Baldwin
The hills are warrior monks ; with
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I ii the D'Urbervilles
ontinued front page 76 i
arm. "Is thai \*nu puling par on?"
I !i-> face still bore a polite smile for
the world's gaze bu1 lii-- ey<
sudden I) red ;in<l bloodshot. "Sit
Mill! Where d'yoti think you're lmi-
ini^ ': Back to the ai ms of a fellow
who threw you away like a broken
l'.\ I leaven, I wonl be made a
fool of! Vou're coming with nic —
wow — — "
"I told you that some day maybe
I'll be able to feel sommal again,"
said Tess in a -till little voice, "and
now I can ! I hate you- it' you
knew how much you would be
afeared "
It was two hours before ^ngel
Clare, by dinl of desperate seeking,
stood outside tin- door of the apart-
ment which Alec D'Urberville had
taken for his love nest. The bell,
under his trembling fingers rang
with a resonant sound like a bell in a
empty house. And then without warn-
ing, the door opened slowly and Tess
stood framed against the thick dark-
ness within. She looked very small
and tired in the shabby coat that she
had worn down to London, and she
answered Angel Clare's haggard
eyes with a faint, pitiful smile. "I —
killed him," she pointed into the
blackness behind. "I suppose they
will hang me, wont they ?" Her lips
quivered childishly, " 'tis proper
queer how things come — I never
wanted to be wicked and now I must
be hung "
"Oh God!" groaned Angel Clare.
"Oh my poor Tess ! I am to blame !
It was my sinful pride which
brought us to this " with that
little word "us" he took her burden
of guilt upon his shoulders. Like
terrified children they clung together
while he whispered his fantastic
plan. There was an empty house he
knew near his own village. They
would go there now, taking food with
them and have their honeymoon
until the end came — as they both
knew quite clearly the end must
come.
By some kind miracle of a pitiful
God they were able to forget — for
hours together — the horror that
hung over them, and there in the
deserted house on the edge of the
wind-swept downs they were happy,
as other lovers who find the world
shut out in each other's arms. Tess
bloomed to new beauty under
Angel's worshiping eyes like a rose-
bud opening to the sun, and day-
lights and darks passed them by
without their knowing. But pres-
ently, by the waiting look of her eye-,
he knew that she had remembered
EARLE E. LIEDERMAN
The Muscle Builder
How Strong Are You?
Can You Do These Things?
Lift 200 lbs. or more overhead with one arm;
Bend and break a horse-shoe; Tear two
decks of playing cards; Bend spikes;
Chin yourself with one hand?
Can you do any of then? I can and many of my
pupils i an. It is remarkable the tilings aman cando
if he will make up Ins mind to 1*-
for the human body to be strong;. It it
be weak. I have taken men who arens ridiculed lie-
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the strongest men of (heir locality.
I Want You For 90 Days
These are the days that call for speed. It once took
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A Doctor Who Takes His Own Medicine
Many say that any form of exercise is good, but this
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I waa a frail weakling mvseli in search ol health and
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EARLE E. LIEDERMAN
Dept^l^lO. 305_ Broadway New York City
EARLE E. LIEDERMAN.
Dcpt. 1810. 305 Broadway. New York City
Dear Sir: I em-lose barnrllh 10 cc • I -
you are to send me wi'hout obligation on my rsrt
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Name
Street
City Stat*
(I'K-ase write or print plainly)
(Eighty-five)
She Needs
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Anna Q. Nilsson. famous for Iter beautiful eyes
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and all his passionate kisses could
not drive the shadow away.
And then one night she woke
trembling and told him of her old
dream of tall stones, towering above
her, threatening to crush her. Angel
Clare listened, holding her close.
" You are describing Stonehenge !"
he said, ''the old Druid temple not
three miles away from us!"
Tess sighed, "Then — all my life
I've been coming here — I didn't tell
'ee, Angel, but yesterday I saw
strange men about the downs. \Ye
will wait anion" the stones "
In the grey dawnlight they stood
among the great granite columns
whose mystery will never be solved,
hand clasped in hand. "I was always
afeared here before," Tess smiled,
"but not now. And I wont be
afeared when they put the black cap
over my eyes for I'll know you'll be
there outside the prison "
"Oh, God!" cried Angel Clare.
"Oh, my dearest, I cant bear it !"
It was for her in that last few
moments to comfort him. "There,
there, my deary ! I've been happy —
so happy with you. Of course, I'm
not saying it wouldn't have been
sweet to live, and maybe had another
child in my arms some day "
He sobbed aloud, kneeling beside
her, head on her breast ; but Tess'
face was lifted to the first rays of
sunlight slanting thru the old grey
stones. "It all seems so queer
like " Tess said, "but 'tis as if
it's meant ! That makes it right-
And then she saw the men coming
toward them across the downs, and
pointed them out to Angel Clare.
And with her hand in his and her
head high like the daughter of a
proud race, Tess of the D'Urbervilles
went to meet them as calmly as in
other days she had ever walked thru
the sparkle of morning meadows
with her milk-pail on her arm.
Behind them the wind from across
the downs tossed a handful of
autumn leaves into a crevice among
the tall grey stones. . . .
The New Contest
{Continued from page 51)
expect, we shall have to be arbitrary
about throwing out those manu-
scripts that do not comply with our
rules. No coupon is necessary. You
do not have to be a subscriber of
Classic to submit stories. Every-
thing pertaining to the contest will be
told in this magazine. Y\"e will save
this page every month for the win-
ning stories, news, and announce-
ments of the greatest contest of
them all
The Life-Storv Scenario Contest.
(Eighty-six)
The Movie Encyclopaedia
have you? You will have to gel in touch
with tin- vt.iis direct foi theii pictures.
i. Holt is playing in "Nortl
ma Shcai have th
feminine role in "The Snob," foi M
.', Ml.
Dutches I \ lleen Moore
ed in "The Ninetj Nine." Pola N-
is twent] sev« n So is ( 01 inn < .1 iffith.
Mildred Da\ is is Mr: ! [arold 1 I
Catbkrini I No, that was rm error.
Lucille Ricksen is not married. Natacha
Rambova has reddish brown hair. T, Roj
Barnes is playing in "Reckless Roman
Earle Foxe has been cast in the lead in the
Richard Harding Davis series, which arc
.: filmed by Fox Florence Gilbert is
the leading lady.
At uk L— Mildred lime and Bobby
w m "Trouble- of .1 Bride." laeque-
Logan has been engaged to play oppo-
Rjchard Dix in •'Manhattan." Conrad
! and 1 laire Windsor in "So This Is
Marriage."
Glen.— Kl Dorado is given as a name to
wealthy country. It was really a
lous region in South America, which
surpassed other countries in the produc-
tion ot famous gems and precious metals.
Beatrice Joy is twenty-five and Dorothy
Mackaill is twenty. Blanche Sweet and
Lew Cody in "The Sporting Venus."
Margie.— That was some letter of yours
Malcolm MacGregor is married and a
lather. \\ rite me any time.
Bettie and John-.— How charming.
Richard Dix is not married. Valen-
tino IS twenty -nine. Barbara La Marr is
playing in "Sandra."
Richard T.— Douglas Fairbanks' last
Picture was "The Thief of Bagdad," which
till running on Broadwav. Walter
McGrail is playing with Rosemary Theby
in "Souls Adrift."
JeaNne. — "The Humming Bird" was re-
leased January, 1924. Gloria Swanson has
had her hair bobbed for over a year now.
Charlotte Merriam, due to her splendid
work in "The Code of the Wilderness,"
has signed a long term contract with
\ itagraph.
Dorothy W.— Sir James Barrie has
decided upon Lillian Gish to play in "Peter
Pan." If she can be released from her
Inspiration Contract, she will probably
play in it for Famous Players. Mae Marsh
is second choice. Address Conrad Nagel
with Metro-Goldwyn.
Helen J.— Colleen Moore's real name is
Kathleen Morrison, so she is no relation
to the Moore boys. Frank Mayo, Mabel
Ballin, Harry Morey, Wanda Hawley and
Arline Pretty are playing in "Barriers
Burned Away."
Iris L. — Men may as well expect to
grow stronger by always eating, as wiser
by always reading. Too much overcharges
nature, and turns more into disease than
nourishment. Tis thought and digestion
which makes books serviceable and gives
health and vigor to the mind. So take
heed, and dont read too much. Monte Blue
is not married.
M. R. F. — Well, twenty years of ro-
mance make a woman look like a ruin ;
but twenty years of marriage make her
something like a public building. Corinne
Griffith was born November 24, 1897, and
her real name is Corinne Scott. She is
playing in "Wilderness." Mahlon Ham-
ilton and May Allison are playing the leads
in "The River Road." Alma Rubens and
Frank Mayo in "The Lawful Cheater."
Sum Jim. — Hoot Gibson is married to
Helen Johnson. Laura LaPlante is not
married. Someone once said that the man
Sec how this side of face denotes
the woman's age, 64 years.
Now. fold this side or picture unccr . along dotted
line, and see how facial filming restored youth.
Time of treatment IS minutes.
Is this ai Miracle?
Faces restored while you wait ! Facial
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now a matter of moments!
A miracle? Yes. The modern miracle of facial
filming.
To realize what this discovery means, study the
photograph. If you think it cannot cope with age
— the lady in the picture is 54 years old! If you
doubt that face filming always works, on any
human skin— and will work on yours — read of the
arrangements for letting you try it.
Facial Film was born in France. Because of the
tremendous cost, its use has been restricted until
now. Its base is neoplasma, worth $5,000 a pound!
The perfecting of thisfilm in solution hasbrought
it to America in affordable form, giving beauty
power which forever solves the problem of perfect
complexion. A face with telltale lines is now in-
excusable. Even deep furrows may now be re-
moved from the countenance: wrinkles succumb
to a single application of neoplasma film; every
minor blemish in skin young or old dissolve
almost with the first touch.
When women realize thefullsignificanceof this
discovery there will be no "old" young faces — no
"withered" faces at any age— no old eyes in
young heads— or "sacks" beneath the eyes in
middle-age. Lines from the corners of the mouth
to nose, and down to chin are dispelled by this
regeneration of tissue. So are the fine lines that
cause necks to look old before their time. It
makes no difference what caused these wrinkles
— whether due to the general condition of age.
organic trouble, undernourishment, or just nerv-
ous strain— the filming process revitalizes and
makes firm the whole skin structure and flesh
beneath. It "takes up the slack" and draws
sagging tissues as taut and smooth as in early
youth. (Filming naturally has the same effect on
hands, and on any part of the body.)
In this age of creams and clays, and endless
other "beautifiers," it is hoped that neoplasma
film will not be regarded as a cosmetic. It is
gentle, to be sure, but it is a physical reagent
accomplishing the same astonishing changes for
which women have undergone plastic surgery.
The results are the same — without the risk, dis-
comfort, or expense. You have read of the re-
markable results of "face-lifting;" neoplasming
© K. G. Co. Q
-I
o
Ik
is just as effective and being Nature's way is vastly
safer and more satisfactory. Facial filming brings
a new era of beauty and beauty methods. It
dooms the superficial. surface preparationswhich
are of no scientific activity, for this process of re-
juvenating the tissues puts a swift — almost in-
stantaneous— end to skin impurities of all kinds.
It renders pores clear, clean and pliant.
And now for the proof: neoplasma sufficient to
supply in solution to as many as respond to this
first public announcement will be distributed by
mail from the Dr. Egan manufactory in Chicago.
The film is used without special knowledge or
skill: it is effective in the hands of anybody using
the simple instructions issued with each supply.
It is a liquid film and conns in a vescule which
seals the contents against any deterioration even
while in use. Your skin may require one adrenal-
izinc, or several, depending on its condition,
your age. etc. But your first filming will bring
such youth to your skin as will astound you. It is
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that blushes is not quite a brute. Warner
Baxter is being co-starred with Florence
Vidor in "Christine of the Hungry Heart."
Elinor. — C'est une autre chose. Yes,
Conway Tearle is married to Adele Row-
land. Milton Sills is married to Gladys
Wynn.
Desdemona. — Antonio Moreno is play-
ing in "The Wildcat" with Estelle Taylor.
Lillian Gish is twenty-eight. Dorothy is
twenty-six. After completing her part in
"In Hollywood with Potash and Perl-
mutter," Vera Gordon signed up to star
in "The Golden Spoon," a legitimate play.
Red Cheeks.- — No, Theda Bara is not
playing in pictures now, tho she is expected
to do "Declassee." ' Wallace Beery is mar-
ried to Mary Gillman. Beverly Bayne
is playing in "Her Marriage Vow." Kath-
ryn Bennett, the attractive sister to Enid
Bennett, made her screen debut in Norma
Talmadge's "Sacrifice."
Hector.— You sure are a promising
young artist. The likenesses were very
good. Gloria Swanson's next picture after
"Her Love Story" will be "The Wages
of Virtue," from the novel by Percival
Wren.
Anna S. — Corinne Griffith is a blonde,
tho she wore a wig in "Black Oxen."
Dont know about that foreign picture.
Pauline Garon is twenty-three, and she is
five feet one.
Movie. — Earle Foxe was Jimmie in
"Fashion Row." Robert Leonard, the hus-
band of Mae Murray, is directing Corinne
Griffith in "Wilderness," while Eric von
Stroheim is handling the megaphone on the
next Mae Murray picture, "The Merry
Widow."
Bertha S. C. — So you dont like the
plays Mae Murray is playing in. Wait
until you see "The Merry Widow." Agnes
Ayres in "The Story Without a Name."
Antonio Moreno in "The Border Legion."
Norma S. — You say you dont like Val-
entino but you do like Alec B. Francis.
They are both so different. I like them
both. Thomas Meighan, after playing in
"The Alaskan," will play in "Tongues of
Flame." Harold Lloyd in "Hubby," which
is only the working title, however.
Josephine. — Nita Naldi is about five
feet nine. Pola Negri five feet four. Con-
way Tearle five feet ten and a half. Polly
Archer of the Follies has been signed to
play opposite Richard Barthelmess in
"Classmates." Henry Walthall in "Single
Wives."
Cherry* Blossom. — You want Lloyd
Hughes on the cover. Address Wesley
Barry at Warner Brothers. Lloyd Hughes
is playing opposite Virginia Valli in "In
Every Woman's Life."
Lady Paradise. — No, Mary Miles Min-
ter is not playing now. Lucy Fox is play-
ing opposite Tom Mix in "Teeth." Julanne
Johnston is playing the lead in "Garragan,"
made in Berlin. Mary Astor, one of our
contest winners, is playing in "The Price
of a Party." Eleanor Boardman, Earle
Metcalfe and Raymond McKee have the
leads in "The Silent Accuser," in which
Peter the Great, a German police dog, is
also being featured. The picture is being
made by Metro-Goldwyn.
Darling. — No, child, I dont mind an-
swering questions, even tho it is 104 de-
grees in the shade. Niles Welch's last pic-
ture was "Wine of Youth." He is mar-
ried to Dell Boone. Marguerite Snow is
back in pictures playing in "Chalk Mark,"
which stars June Elvidge and Helen Fer-
guson. House Peters is playing in "The
Tornado," which King Baggot is direct-
ing. Grace Cunard and Helen Holmes are
back in pictures in the series of society
stunt melodramas which Independent Pic-
tures are producing with William Des-
mond as the lead. See you next month.
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mtinued from page U i I
complete!) wrong, even in the com-
pany of rleywood Broun, makes me
bless thi if the Km
fuerstendamm in whose company I
dallli
And seeing "Abie's Irish Ro
for the first time on it- nine hundred
and sixty-eighth performance, per-
mits me to be as superior as Ludwig
I I u i-i > I i 1 1 In the Opinions of \]
ander Woollcott. The dailies roasted
"Abie." Now I can roast the dailies
by discovering the extraordinary
virtues of that interracial ma
piec
V a matter of fact, I feel very
much like doing just that. The play
is no worse than mi »st of our faili
and decidedly better than many of
our successes. In May. 1022. I sup-
e I would have been hot enough
and tired enough, after a season of
just such trash, to ignore the fact
that Miss Nichols knows as much
about playwriting as Aaron 1 1
maim and a greal deal more than
George Middleton. In August, 1924,
I recognize that the only trouble
with "Abie's Irish Rose" is that Sam
I larris didn't produce it.
The secret of the success of
"Abie's Irish Rose" is simple enough
— tho that doesn't mean that any
playwright or manager can achieve
it. To begin with, it has a topic full
of natural dramatic effects — the con-
flict of Irish bigotry with Jewish
bigotry. Kither race can ordinarily
he depended upon to supply plenty
of amusing hokum. Link them to-
gether by the secret marriage of
their children and the result is bound
to be effective — so long as the play-
wright is a good critic. If he can
choose between the less and the more
entertaining, then he will have in-
cidents just a little more theatrically
amusing than those of "Welcome,
Stranger!'' Aaron Hoffmann's
comedy about the Jew who invaded
a small Xew England town.
It is hard to present on paper any
concrete evidences of Miss Nichols'
virtue as a playwright. They are
clear enough on the stage. But her
faults — or, rather, her main fault —
is another matter. It cries out at
you. It shrieks : "I ain't got no
style!" That is the secret of
"' Vbie's" inferiority — and some of
its popularity. It is common — in a
common way. It ought to be com-
mon in a fashionable way. If Sam
Harris had produced it, it might be
as ordinary in its emotions, ideas,
and wit as it pleased, hut it would
he fashionable. It would ride along
with the procession. The' hokum
(Continued on page 92)
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(Eighty-nine)
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Where Was the Camera?
(Continued from page 18)
stage play the better to enjoy a hero's
sufferings, you will appreciate William
de Mille's thought fulness in bringing
the camera close to his characters'
faces when they are registering grief
or despair or love. The closeup is
the screen substitute for the opera-
glass habit, and Mr. de Mille has a
telescopic camera grinding with every
scene he shoots as well as the regular
machine ; then when he wishes to use
a near view at any particular point
the cutting from the full scene to the
closeup face will be perfectly smooth.
His brother Cecil recently used seven
cameras simultaneously in taking a
small but important shot centering
about a blackboard, thus giving an
unbroken sequence of the action from
every possible angle. When the
scene is flashed on the screen, the girl
will not have a lock of hair loose in
the long view and be wearing a hair
net in the closeup, and the man will
not be smoking a fresh cigaret at a
distance and a butt in the nearer shot,
as happens so often when the two
views are taken at different times.
James Cruze, however, uses but
one, or at the most two cameras in
shooting a scene and leaves the matter
of its position to his cameraman,
Carl Brown, giving him carte blanche
to work out his own ideas. Before
taking "The Fighting Coward," Mr.
Brown studied the art form of the
period, steel engravings, and dis-
covered that they were all made from
a low angle of vision, the artist sitting
on a stool below the scene he was
depicting and looking slightly up at
it. By straddling the tripod of his
camera to its full width, he was able
to reproduce the engraver's view-
point, giving a quaintness to the pic-
ture which the audiences will not
understand but will feel.
"Taking motion pictures isn't quite
the same thing as turning an ice-cream
freezer or cranking a Ford engine,
tho the motion may seem similar !"
says he. "Personally I believe a
cameraman should try to interpret the
spirit of the action by his photog-
raphy. There was a scene in 'Stella
Maris' I have always remembered,
the one where the little drudge has
killed the woman who tortured her.
The lighting was flat and dead and
the camera angle deliberately dis-
torted to give a feeling of despair.
Mechanically it was bad photography,
but artistically it was great work !"
To Cecil De Mille a motion picture
is first of all a picture, something to
look at. Detail, finish, beauty of set-
ting, clearness of background charac-
terize his work and he has a director
of photography, Bert Glennon, as
well as a cameraman. Chummy
camera angles have no place in a
Cecil De Mille picture ; to his mind
the audience belongs in its seats, not
on the screen. When there are more
than two or three people on a set, his
camera is raised above their heads.
In the great mob scenes in "The
Ten Commandments," the cameras
were hoisted thirty feet from the
ground on scaffoldings, in order to
obtain the widest possible range of
vision. A telescopic lens caught the
closeups of Rod La Rocque's face
as he stood in the tossing motor-boat
from the top of a breakwater half a
mile away, while the Ackley camera,
a machine arranged on ball bearings
so that it can lie down, roll over and
over and stand on its head, was used
to follow Leatrice Joy to the roof of
the cathedral and to panorama the
pursuing chariots of the Egyptians.
Most screen players have a "bad
angle." Perhaps one side view is not
so good as the other, perhaps the pro-
file is better than the full face. It is
said that even Mary Pickford has one
angle which is never shown on the
screen. The camera can perform
miracles for them, flattering their
good points, concealing their not-so-
good ones and aiding them to put
their best faces forward as it were.
A low camera angle combined with a
high background has often made
short actors like Henry Walthall ap-
pear supernaturally tall, while the
reverse of the trick is called upon to
conceal the sudden alarming tendency
to legginess of some screen • child.
Nowadays the crash of breaking
traditions is heard on the movie lots.
The actors turn their backs upon the
lens, or look straight into it. The
chalk marks which kept them toeing
the line are gone and they may now
emote without fear that when they
fling themselves in despair upon the
floor perhaps their heads will be miss-
ing from the finished pictures. The
migratory camera is at home in autos
and aeroplanes. It burrows into the
ground or hides in a concre'.e dug-
out thru which its single eye may
watch a stampede of buffalo thunder
by overhead and it climbs nimbly
above the heads of a society dinner.
It conspires with the stunt actor
to make him seem to do that which
cannot be done. It makes bricks of
straw, silk purses of sow's ears,
builds Rome in a day, creates a
mighty ocean from little drops of
water, and a sheiky desert from little
grains of sand and — greatest miracle
of all — it makes stars out of ordinary «'
mortals and dreams for a whole
world from a dingy strip of celluloid.
(Ninety)
Into the attic
FEW youngsters to-day ever saw a horsehair
sofa. They wouldn't know what to do with a
fire taper, carpet stretcher, or coal-oil lamp.
They couldn't braid rags into a rug, or wind yarn
without tangling. But they know the how and
why of typewriters, phonographs, telephones,
automobiles; what happens when a push of the
button gives light, or a kodak's flash fixes their
image on paper.
Their education is as modern as the advertise-
ments they see. They have no more use for the
lamp and chimney of yesterday than you for the
wick and tallow of the day before.
Advertisements induce such progress. They
urge wide use that means improvement. They
help you lift the out-of-date into the attic — rid
you of the water buckets and soap kettles of
slavedom. They bring late improvements
within your reach.
Read the advertisements regularly. Keep
alert to the new.
Without advertising, you would never
know a product's worth until
you had bought' it
(Ninety-one)
Have You Wondered Why
Some Toilet Goods Clerks So
Persistently Push One Line?
A REPRESENTATIVE of the Federal Trade
Commission made an address at the last con-
vention of the National Association of Toilet
Goods Manufacturers calling their attention to a
situation which threatens the good faith between
department stores and their customers. Now that
the spotlight has been turned on this evil practice
which has grown up slowly, it must inevitably
disappear.
Many women have, no doubt, been at a loss to
understand the persistent and often adroit methods
by which clerks at toilet goods counters in depart-
ment stores attempt to make them take some brand
other than the one they had intended. They are
frequently irritated by this, but how completely
they would resent it if they knew the real facts.
The young woman who is trying to substitute is
not an unbiased clerk of the store, but in truth, the
employe of a manufacturer masquerading as a
clerk.
In a great many department stores of this
country the salaries of all the clerks at the toilet
goods counter are paid by individual manu-
facturers. The advantage to the manufacturer
is that the young woman so employed will divert
to his brand all wavering or undecided customers,
and within the limits laid down by the store rules,
switch from other brands.
There can be no objections to the open demon-
strator. She often serves to perform a useful
demonstrating and sampling job. But the hidden
demonstrator — who masquerades as an unpre-
judiced clerk speaking in the interests of the store
and with its authority — tends to break down the
good will that is the greatest fundamental asset
which the department store possesses.
At present the only real protection the customer
has is to know what she wants and insist upon
getting it.
The Play of the Month
(Continued from page 89)
would be the latest thing. It would
be just a little smarter, just a little
more exclusive. When the Jewish
hero had to invent a kosher name
for his bride, Rosemary Murphy, it
wouldn't be so obviously impossible
as "Murphysky." The verbal humor
would run above the following:
"For why you want to get Abie
married? He's heppy."
The final fact about this play s
success is that it appeals to the non-
theatergoing populace. The theory
has been that, between the Irish and
the Jews, it was bound to make a
mint of money. It happens that out-
side New York and Boston there
aren't so very many of these
peoples. It happens, also, that the
audiences — if mine was any sample
— are shy on both varieties. The
people who go to "Abie's Irish Rose"
are mainly the kind of people who
went to "Ben-Hur" and "Experi-
ence." The fact that the gentlemen
frequently bring a two-pound box
of candy as well as a girl defines
their familiarity with the ways of
the theater. They like a certain
amount of religion in their plays,
and a certain amount of good old-
fashioned hokum. But above all
they need the obvious. And they
get it from "Abie's Irish Rose."
The Picture of the Month
(Continued from page 47)
down to earth. He puts before us
human characters in real places.
"Manhandled" might be criticized
on the ground that there is just a
little too much space given its star.
Perhaps such is the case, but at least
Miss Swanson deserves more space
here than ever before. She is a real
actress — and demonstrates here that
she is a gifted comedienne as well as
an accomplished mimic. And she
offers a distinctly new touch in hair-
dress. She wears a bob like no other
bob — with the front ends long enough
to curl forward in a crescent over the
cheek. It adds more color to her
personality and makes her charac-
terization sure. Is she a real actress?
We offer in proof of this the fact
that she wears a dingy dress thru
half of the picture and still holds
the attention.
There are others who give good
performances. Tom Moore is a per-
fect representation of what he pre-
tends to be — an every-day youth of
the workshop, and Ian Keith (with
profile), Arthur Housman, Frank
Morgan, Lilyan Tashman and Paul
McAllister act with authority.
(Ninety-two)
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III 111
ntinutd from page 50)
ix miles. Guava puts her
fingers to her lips and points to a
miniature \\ hich Es more cai
.11 "in nl his neck on a little ",<>!< I chain.
It is .1 picture of her mother !
i To be continued)
•b 'b 'b
It is amazing whal publicity
siunis are worked to exploit tilm>.
The ingenuity of the angles and tie-
ups— i" -a\ nothing of the turn-
overs and overheads, is sufficient to
arouse one's competitive spirit even
if the Olympic Championships dont.
Here's what this department sug-
gests for the Fi Jlovi ing :
"The Red Lily." ( live the patrons
of the theater in which it is playing
a pot of fresh mint.
"Neglected Women." Have a big
register in the lobby and make all
the lady patrons put down their
names and telephone numbers.
"Feet of Clay." Arrange with the
Mayor of Cincinnati to have him
jump in Lake Michigan.
"Excitement." Set the house on
fire on alternate evenings, hut dont
give out the dates in advance.
"That French Lady." Hire a
Chinese Orchestra to go thru the
streets on skis playing bagpipes and
zithers.
"The Warrens of Virginia." Give
out pet rabbits. (This will be a
wow in Chicago.)
•b -b "b
American-made movies have in-
vaded England to the extent of put-
ting the native products out of
business. Which proves beyond all
question that the English can cer-
tainly take a joke.
•b -b •b
We certainly are a demon for up-
lifting the silent drama this issue.
And here goes our last bit of
friendly counsel. To Mr. Hal
Roach, sponsor of the "Our Gang"
comedies, Sir — Dont ever, ever let
that nasty little fat boy keep losing
his pants again.
FIREFLIES
By Helene Lkfaivre
Star dust on summer's evening cloak,
Jeweled caps of little woodland folk,
Lovelight shining in woman's eyes,
Glimmering hopes that Fate belies.
Bright sparks struck from Love's brief
hour.
Flung in a gleaming golden shower.
O'er vale and field and brooding park,
Making sweet mystery of the dark.
$200 to $2000
Paid for
Short Stories
Magai ; tod motion pit ttirc
duct i ■ .nr Marching tl
writers and arc offering thorn ill an
in prizes in addition to tl"- usual payments
i abort stories an I
to $2000 fur motion j • i < tu .•■•>.
lluvf You the I ';;<• /« II
have s creative lma| the natural
ability id write, there why you i
learn tin- established '■ writing and tell
The be i proof that this can be .lone is that
sen like your .-If are actually
doing it. Many of then did not dream that they
Into the ranks of the ;
writers until the Palmer i
•Jiowed them the seercU of story building.
Unknown Writer Rrn rivet 510,000
for One Story
Miss Winifred Kimball, a Palmer student living in
Apalachicola, Florida, won the $10,000 prize in the
id contest conducted by the Chicago Daily
Newt in collaboration with the Goldwyn 1'
Corporation.
Mrs. Anna Blake Mesqutds, another I'almer stu-
dent, won the second prise of $1000, anil seven
$500 prizes wire al i) won by Tain
"Judgment of the Storm" anil "The White Sin"
wire al^o written by I'almer stu!.
pictures were produced by us, through the Palmer
Photoplay Corporation, and are now appearing in
motion picture theatres throughout the country.
Each author received $1000 in advance and will
share in the profits on a royalty b I
Mrs. Frances White Elijah won a $2500 prize for
her story, "The One Man Woman." ami we
her earlier screen story, "Wagered Love," to D. W.
Griffith. Our Sales Department has sold two slorii ,
for Winsor Josselyn so far this year.
Well-known Writers Help You
The success of Palmer students is due simply and
solely to the fact that you study under the personal
direction of men who are themselves well-known
authors, dramatists anil motion picture writers.
You learn to write by writing. You are given
the manuscript anil continuity of famous motion
picture scenarios to analyze and study at home in
spare time. You write actual stories and photoplay^
which we help you to sell through our Story
Department right here in Hollywood, with branches;
in New York and Chicago.
Distinguished Men at Helm
Aiding in the work of discovering and trainin ■
writers are such distinguished men as Frederic :
I'almer, author and educator; Clayton Hamilton,
well-known playwright and author-educator; Russell
Doubleday, publisher; Brian Hooker, formerly of
the faculty of Yale and Columbia Universities; Dr.
Frederic Taber Cooper, author-educator; C. Gardner
Sullivan, screen writer and director; James R. Quir!:,
editor of Photoplay Magazine, and Rob Wagner,
author and motion picture director.
THIS 96-PAGE BOOK FREE
"The New Road to Authorship"
It tells all about the Palmer Institute's systematic,
step-by-step method of teaching Short Story Writing,
Photoplay Writing and Dramatic
Criticism — gives full details of
the success of Palmer students
and describes the Palmer
Scholarship Foundation, which
gives ambitious men and wo-
men the opportunity to get the
complete course free by provid-
ing fifty scholarships annually.
Just mail the coupon and we'll
send you this 96-page book,
"The New Road to Author-
ship," free by return mail.
Palmer Insiih n; OF AUTHORSHIP
Affiliated with Palmer Photoplay Corporation
Dept. 56-K, Palmer Hldg. Hollywood, Calif.
Please send me, without cost or obligation, a copy
of your 96-page book, "The New Road to Author-
ship," and full details of the Palmer Scholarship
Foundation. I am most interested in —
D Short Story Writing □ Photoplay Writing
□ Dramatic Criticism
Name-
Address....
Alt correspondence strictly confidential
(Ninety-three)
Manufacturers, Distributors and Studios of
Motion Pictures
NEW YORK CITY
Advanced Motion Picture Corp., 1493
Broadway
American Releasing Corp., 15 W. 44th
Street
Arrow Film Corp., 220 W. 42nd St.
Associated Exhibitors, Inc., 35 W. 45th
Street
Ballin, Hugo, Productions, 366 Fifth
Ave.
Community Motion Picture Bureau, 46
West 24th St.
Consolidated Film Corp., 80 Fifth Ave.
Cosmopolitan Productions, 2478 Second
Ave.
C. C. Burr Prod., 135 W. 44th St.
Distinctive Prod., 366 Madison Ave.
(Biograph Studios, 807 E. 175th St.)
Educational Film Co., 729 Seventh Ave.
Export & Import Film Co., 729 Seventh
Ave.
Famous Players-Lasky, 485 Fifth Ave.
(Studio, 6th and Pierce Sts., Astoria,
L. I.)
Film Booking Offices, 723 Seventh Ave.
Film Guild, 8 W. 40th St.
Film Market, Inc., 563 Fifth Ave.
First National Exhibitors, Inc., 383
Madison Ave.
Fox Studios, Tenth Ave. and 55th St.
Gaumont Co., Congress Ave., Flushing,
L. I.
Goldwyn Pictures Corp., 469 Fifth Ave.
Graphic Film Corp., 729 Seventh Ave.
Griffith, D. W., Films, 1476 Broadway.
(Studio, Oriental Pt., Mamaroneck,
N. Y.)
Hodkinson, W. W., Film Corp., 469
Fifth Ave.
Inspiration Pictures, 565 Fifth Ave.
International Studios, 2478 Second Ave.
Jans Pictures, 729 Seventh Ave.
Jester Comedy Co., 220 W. 42nd St.
Kenna Film Corp., 1639 Broadway
Mastoden Films, 135 W. 44th St.
Metro Pictures, Loew Bldg., 1540
Broadway
Moss, B. S., 1564 Broadway
Outiner Chester Pictures. 120 W. 41st
Street
Pathe Exchange, 35 W. 45th St.
Preferred Pictures, 1650 Broadway
Prizma, Inc., 110 W. 40th St.
Pyramid Picture Corp., 150 W. 34th St.
Ritz-Carlton Prod., 6 W. 48th St.
Selznick Pictures, 729 Seventh Ave.
Sunshine Films, Inc., 140 W. 44th St.
Talmadge Film Corp., 1540 Broadway
Topics of the Day Film Co., 1562
Broadway
Triangle Distributing Corp., 1459
Broadway
Tully, Richard Walton, Prod., 1482
Broadway
United Artists, 729 Seventh Ave.
Universal Film Corp., 1600 Broadway
Vitagraph Films, East 16th St. and
Locust Ave., Brooklyn
Warner Bros., 1600 Broadway
West, Roland, Prod. Co., 236 W. 55th
Street
Whitman, Bennett, Prod., 537 River-
dale Ave.
OUT OF TOWN
American Film Co., 6227 Broadway,
Chicago, 111.
Bear State Film Co., Hollywood, Calif.
Leah Baird Prod., Culver City, Calif.
Bennett, Chester, Prod., 3800 Mission
Rd., Los Angeles, Calif.
Charles Chaplin Studios, 1420 La Brea
Ave., Los Angeles, Calif.
Century Comedies, 6100 Sunset Blvd.,
Hollywood, Calif.
Christie Film Corp., 6101 Sunset Blvd.,
Hollywood, Calif.
Commonwealth Pictures Corp., 220 So.
State St., Chicago, 111.
Coogan, Jackie, Prod., 5341 Melrose
Ave., Los Angeles, Calif.
Douglas Fairbanks Studios, Hollywood,
Calif.
Famous Players-Lasky Studios, 1520
Vine St., Hollywood, Calif.
Fox Studios, 1401 Western Ave., Holly-
wood, Calif.
Garson Studios, Inc., 1845 Glendale
Blvd., Los Angeles, Calif.
Goldwyn Studios, Culver City, Calif.
Grand-Asher Prod., 1438 Gower St.,
Hollywood, Calif.
Graf Prod., Inc., 315 Montgomery St.,
San Francisco, Calif.
Harold Lloyd Studios, 6642 Santa
Monica Blvd., Hollywood, Calif.
Ince Studios, Culver City, Calif.
MacDonald, Katherine, Prod., 945
Girard St., Los Angeles, Calif.
Mary Pickford Studios, Hollywood,
Calif.
Mayer, Louis B., Studios, 3800 Mis-
sion Rd., Los Angeles, Calif.
Metro Studios, 1025 Lillian Way, Los
Angeles, Calif.
Morosco, Oliver, Prod., 756 So. Broad-
way, Los Angeles, Calif.
Pacific Studios, San Mateo, Calif.
Pathe Freres, 1 Congress St., Jersey
City, N. J.
Ray, Charles, Studios, 1425 Fleming
St., Los Angeles, Calif.
Robertson-Cole Studios, 780 Gower St.,
Los Angeles, Calif.
Roach, Hal E., Studios, Culver City,
Calif,
Roland, Ruth, Prod., Culver City, Calif.
Sawyer-Lubin Prod., 6912 Hollywood
Blvd., Hollywood, Calif.
Sennett, Mack, Studios, 1712 Glendale
Blvd., Los Angeles, Calif.
Sol Lesser Prod., 7250 Santa Monica
Blvd., Hollywood, Calif.
Stahl, John M., Prod., 3800 Mission
Rd., Los Angeles, Calif.
Stewart, Anita, Prod., 3800 Mission
Rd., Los Angeles, Calif.
Tourneur, Maurice, Prod., Ince Stu-
dios, Culver City, Calif.
Talmadge Prod., 5341 Melrose Ave.,
Los Angeles, Calif.
United Studios, Inc., Los Angeles, Calif.
Universal Studios, Universal City,
Calif.
Vitagraph Studios, 1708 Talmadge St.,
Hollywood, Calif.
Warner Bros., Bronson Ave. & Sunset
Blvd., Hollywood, Calif.
Weber, Lois, Prod., 6411 Hollywood
Blvd., Hollywood, Calif.
Wharton, Inc., Ithaca, New York
The Celluloid Critic
(Continued from page 49)
who says and does the obvious things.
This actor who flashed such talent in
"Beau Brummel" is a good likeness,
but there the comparison ends. He
seems to be as much in the dark as
the director in how to draw the char-
acter vividly and compellingly and
sympathetically.
The picture will arouse discussion
— for Lewis is either liked or tossed
aside. It may be that some readers,
disappointed in the novel, will admire
the film — and those who like the
story will probably be disappointed
in the screen version. More light-
ness and humor would have made it
more human.
HOW to Educate a Wife"
(Warner Brothers) is one
of those satires on modern
married life written by no less an au-
thority than Elinor Glyn. She
doesn't tread on the sob pedal this
time — and somehow by getting away
from sermonizing on this eternal sub-
ject she comes closer to the truth
than what is usually revealed under
her signature. It's extremely light
fare, but pleasant withal — and the
idea points out the impossibility of
educating one's spouse when she
wants to become contrary. Most any
husband will agree with this.
The story offers a lot of little pre-
tentions. There is a scheme afoot
here when the husband's friend
advises him to use his wife for vamp-
ing purposes. He cant see the plot
at all. But she steps out and vamps
one of the customers. And there's
an end to the love nest. The rest of
the fun deals with hubby trying to
run his house single-handed — enjoy-(
able incident interlaced with some
delicate make-believe tactics toward
reconciliation.
Marie Prevost and Monte Blue,
who are much together in pictures
these days, make an excellent pair of
battling lovers. And Claude Gilling-
water furnishes some of that fine
character talent as the "fall guy."
The piece moves at a lively pace,
keeps its sparks lighted thruout — and
exudes more than a share of realities.
Monta Bell, who directed "Broadway
After Dark," shows that he hasn't
worked with Chaplin in vain. There
is subtlety in his work.
F
OOLS in the Dark" (F. B.
O.) is as near an approach to
clever melodramatic satire as
we've caught on the screen in some
time. We who have grown accus-
tomed to seeing the old situations
with the regulation characters — all of
them developed in the same old way,
(Ninety-four)
KM Mil IIIIIIM Ill Illlllllll
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NEWS CORRESPONDENCE
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ipers. maKazlnes. Experience ill
details frc,-. Press Syndicate, 949 St. Louis, M
PATENTS
PATENTS. Writ.- for Free Guide Rooks and
rd of Invention lilank" before disclosing In-
ns. Send model or sketch for our free l'\
■ initiation and Instructions. Terms Reasonable.
r J. K\:ins Co.. I'.-'l Ninth, Washington, D. C.
PHOTOPLAYS
Journalism — Photoplays — >hoi-t Stories. Plot
I'liart and Details free to those wishing to enter
■hove professions or dispose of manuscripts on
--i.ni. (The Service offered is given by Pro-
faudonal Authors and Editors of high standing.)
Harvard Company, 433 Montgomery, San Francisco.
tfS For Photoplay Ideas. Plots accepted any
form; revised, criticised, copyrighted, marketed.
■ free. Universal S.-.nario Corporation, 203
ty Bldg., Santa Monica and Western Ave.,
■ aikmI. Cal.
SHORT STORIES
I IBM »25 WEEKLY, spare time, writing for
newspapers, magazines. Experience unnecessary:
fetalis free. Pre-- Syndicate, 949 St. Louis. Mo.
Stories and Photoplay Ideas Wanted by 48
companies; big pay. Details free to beginners.
Producers' League, 441, St. Louis, Mo.
Morle«, Poems, Plays, Etc., are wanted for pub-
lication. Good ideas bring bijr money. Submit
Mss. or write Literary Bureau. 134 Hannibal. Mo.
STAMPING NAMES
Stamp Names On Key Checks. Make $19 per
100. Some make $10 daily. Either sex. Work can
be done at home, -pare time. Send 25c for sample
and instructions. M. Keytag Co., Oohoes, N. V.
TOYS AND NOVELTIES
Opportunity to start Manufacturing Metal
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Enormous demand exceeds supply. We furnish, at
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TYPEWRITERS
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VAUDEVILLE
»"ET ON THE STAGE. I tell you how: Per-
sonality, confidence, skill developed. Experience
unneeessary. Send 6c postage for instructive
illustrated Stage Book and particulars. n.
LalVlle, Box 657, Los Angeles, Cal.
(Ninety-five)
re when
bo . ime i ci in In hed o thai I
lll.'.llllc
lii other words, the director 1
i \l Sentell, take your l><>\\ i . has
kidded the life out oi the conven-
tional stuff and furnishes us with a
rapid lire sain,- on such tl led ami
true elements as romance, myster)
ami suspense. I he mj stei j
dominant, broughl out and held thru
the high jinks that occur in a house
where the hero and his companions
arc given to spook) carryings-on.
Behind the melodrama runs this
comedy vein, which is heightened
with sparkling scenes. The heroine
is kidnapped, the hero is assaulted
and the rescue comes in time when
the marines jump in at the finish.
\\> trick i> forgotten in poking fun
at the old situations. There are some
thrills to balance the laughs. And it
is smartly aeted by Matt Moore
whose restraint aids in building the
suspense. He gets the must from
every scene — and dues it by touching
the soft pedal — acting not easy to
accomplish. The girl is Patsy Ruth
Miller — and her plastic expressions
of fright, anger — and other emotions
also help in carrying on the plot.
She is a charming heroine. Tom
Wilson who has won his laurels in
blackface roles, comes forth again in
burnt cork, and furnishes the comedy.
There should be more such efforts.
Melodramas have become altogether
too standardized. And satirizing
them occasionally one may respond
to something different.
JUST what the Germans in-
tended to convey in "Between
Worlds" (Weiss Brothers) is a
subject for argumentative discussion.
It attempts to be a spectacle without
much success — and it tries to trespass
in fantastic fields after the manner of
"Caligari." And the comparison is
weak. It is heavy and somber — and
often tiresome because it appear
incomprehensible. The German mind
theorizes that a woman cannot find
true love until she sacrifices all base
motives. A pretty heavy subject and
not worthy of argument in this world
of erring humans.
The picture touches upon allegory,
too. It also becomes fanciful when
the heroine (we are reasoning from
the way we saw it) goes into a sort
of dream and visualizes herself and
her lover as reincarnated figures of
the Venetian Republic. Byzantium
and Old China — both of than stalk-
ing thru tragic scenes suggesting
something of the Montague-Capulet
scrap. An uncanny figure shadows
the girl — a figure similar to the sleep-
walker in "Caligari." He has lured
her lover away — and always bobs up
to pass judgment on her. In the end
Camso's
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HENT0P1NE
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the tragic youth awakes. The
story wanders too much in the
clouds and doesn't descend to the
simple emotions until vengeance is
meted out to the youth. If you look
beyond this incoherent story and fol-
low the actors, you'll be entertained
with some fine pantomime (the Ger-
mans can act) executed by Bernard
( loetzle, the uncanny stranger. And
there is some creditable atmosphere.
Its plot is as difficult to fathom as the
fourth dimension.
THE youngest and smallest bru-
nette on the screen, Baby Peggy,
comes bidding for favors in
"Captain January" (Principal) — a
picture not much bigger than herself
in regard to its plot, but capable of
interesting any type of audience thru
the tender appeal of the captivating
Peg — and the sentiment which pro-
jects her. It's an old story, but one
that never grows tiresome. One cant
be bored over watching the play of
affection between a kindly old man
and a little tot — one cant be bored if
the heart is right. So the old light-
house keeper picks up his little piece
of human flotsam and adopts her.
The lighthouse is a picturesque set-
ting— and the aged keeper is a lov-
able character. And because Direc-
tor Eddie Cline has painted him half-
way human — with Hobart Bosworth
portraying him to command sym-
pathy, we feel mighty sorry when the
child is taken away. But she comes
bounding back into his life — and to-
gether they sail the seven seas.
Peggy under appreciative direction
acts like any normal active six-year-
old kid. We take off our faded straw
to Cline — and make an additional
bow to Peg herself. She is natural —
not a bit precocious — and acts with a
sincerity that should be adopted by
many of her adult contemporaries.
It may be an old story — this "Cap-
tain January" — but it is told with fine
restraint, there being no stepping on
the sob pedal— and Peggy makes the
little waif so lovable that we take her
and the film in the most friendly
manner. The children will love it.
WHEN a play goes thru such a
metamorphosis as "Along
Came Ruth" — which came
from France, found a haven in a
Broadway theater — and eventually
joined screen circles as a Metro pro-
duction, there cant be much left of
its original thought. There isn't
much to it. All the racy atmosphere
has been lifted — and what is substi-
tuted goes under the name of rustic
hokum — the kind of hokum which
Dr. Sennett strings thru his comedies
— meaning, of course, that it is exag-
gerated and far from being a replica
of rural existence.
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PERSONAL
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1917-L, Ackerman Bldft., BINGHAMTON, N. Y.
Rashes from the Ea I rn
1 1 ontinutd from (•
"Peter Pan," which will be made
in the East. * * * Gloria Swanson
has practicall) completed "Wa
ol Virtue" with Norman Trevor
ami Ben Lyon. Il is a Stor) of the
ign | .egion in Aigiei b. I [er
last picture, "Manhandled," has
made ;t gTeat liit. She will sail for
Paris in Septembei t<> make
"Madame Sans-Gene." Charles
de Roche will plaj ite her.
* * * It is Famous Players inten-
tion to send American players
over to London also to make a
picture in their London stud
* * * The Japanese Cha
D'Affaires at Washington has
been invited to .attend a gala per-
formance of "Ka-Bu-Ki" at the
Threshold Playhouse in the near
future. Clare Tree Major, man-
aging director of the Playhouse,
plans to arrange a Japanese night,
on which occasion a number of
both Japanese and American ce-
lebrities will be present. * * *
Among the important foreign pro-
ductions for which the Selwyns
have secured the American rights
is the three-act comedy by Sacha
Guitry entitled "L'Accroche
Cceur," which has been a tremen-
dous success in Paris since last
December. It will probably be
called "The Two Adventurers,"
when presented in New York next
season. The English adaptation
has been made by Arthur Wim-
pers. * * * Joseph Hergesheimer,
many of whose stories have proved
good screen material in the past,
will become actively engaged in
the production of motion pictures
at the Paramount Long Island
studio when one of his first suc-
cessful stories, "Three Black Pen-
nies," is put in production. .Air.
Hergesheimer and Margaret Turn-
bull are at present engaged in re-
ducing the novel to scenario form
and Paul Bern will direct it. * * *
Doris Eaton, sister of Mary Eaton,
has been engaged for the east of
"Good for Nothin' Jones" which
is now in rehearsal. * * * Hope
Drown, who will be remembered
for her excellent work in the film
"Hollywood," has deserted the
screen for the time being and has
an important role in "The Best
People," a comedy by David Gray
and Avery Hopwood. * * * George
Broadhurst announces he will pro-
duce a comedy based on stories by
the late George Randolph Chester
and Lillian Chester, and called, for
the present, "Izzy." This has
been written by Mrs. Trimble
Bradley and Mr. Chester.
How I Ended
Superfluous
Hair
At Once
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BY AN ENTIRELY NEW
SYSTEM OF MY OWN
humiliation ol
know w bat j"> and happ
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M^^SSgaSS
(Ninety-seven)
It s difficult to weefi when your very name is BJythe
Tke Music-Man Tells It
IT'S a crisis. What's to be done when a screen actress, or actor, just cannot summon a tear, or
perhaps a spontaneous laugh ? You know what happens ; the director summons the musicians
to work on the feelings. Then quite naturally the tears respond to the call of the sobbing violins,
or the "ha-ha's" ring out with the laughing saxophone.
These musicians see a totally different, tho no less pleasant, side of the screen personalities.
Motion Picture has the inside story according to the musicians, and with amusing comments by
the Talmadges, Mary Pickford and Douglas Fairbanks, Pola Negri, Conway Tearle, Monte Blue,
and all the other favorites.
There is so much to tell, and so many new pictures of stars, and directors, orchestras and things
that this story will have to appear in three parts. It begins in the November number.
Is the Silent Drama Silent? is part of your motion picture education. But unlike some knowl-
edge which is acquired painfully, this is "easy and pleasant to take."
HOPE BROWN certainly seemed to be well started in the general direction of being "bad." She
had rather a qualm, despite her resolution, when she was escorted by the owner, very early in the morning,
to Stanton Braithwaite's bachelor apartment. And Stanton himself was a bit puzzled to know what to
do with this girl. She was bold, in some ways, and then again, she was so bashful.
But it was a most unconventional hour, and the girl had no place to go. So this rich young man
decided that, for his good and her good . . . But you'll find Stanton Braithwaite asleep in a Morris
chair when you read the
Fifth Instalment of
THE GIRL WHO COULDNT BE BAD
By Henry Albert Pnillips
■November-
MOTION PICTURE MAGAZINE
On Newsstands October 1
EDWARD LANGER PRINTING CO., INC.,
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(Ninety-eight)
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A SKIN YOU LOVE TO T0UC1
BY T. K. HANNA
"Science and everyday experience teach that a beautiful skin does not depend on youth"
£How long can a woman keep the
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At TWENTY— is a woman's skin
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At thirty — must it begin to
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In romance — yes. But not in
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Science and the woman of forty
Science and everyday experience
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A woman of forty may have a
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Inside Facts
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Sir Arthur Conan Doyle - Sir Anthony Hope -Thomas Burke
Tell What They Think About Motion Pictures
When Beauty is at Stake
—take care
Use a soap made for ONE purpose only:
to safeguard good complexions
(TVSWS
"C^OR your sake and for ours, we publish this in the interest of all
■*■ concerned who value a good complexion. Some people, we learn,
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It was made to be used freely, lavishly on the
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That soap changed previous ideas of soaps.
Largely on expert advice, women tried it. And
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Palmolive soon became the leading toilet
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It is one of the two largest selling soaps in
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60 years of soap study, in the interest of skin
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No other claims are made for it. Palmolive
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It is too neutral to be effective for fabrics. To
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Good complexions are too priceless to be en-
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There are complexion soaps at 25c and more,
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Carry that in mind, for your own sake, when
asked to "try" another soap that claims
Palmolive results. When beauty is at stake,
use Palmolive, a soap you know is safe to use.
It is nature's formula to "Keep That Schoolgirl
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THE PALMOLIVE COMPANY (Del. Corp.), Chicago. 111.
French soaps have largely failed
to please French women
Palmolive is one of the two largest selling toilet
soaps in France today When you are tempted with
French claims for a soap. Madam, please remember
that in France, the home of cosmetics. French toilet
soaps by the score have given way to Palmolive.
In France, Palmolive Soap is the "imported " soap.
French women gladly pay more for it than you pay.
The cosmetic qualities of Palmolive Soap hold su-
preme today in French beauty culture.
Don't buy soaps with "French" claims and expect
Palmolive results.
"Palmolive Soap is untouched by human
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' — it it necer sold unwrapped
Soap from Trees
The only oils in Palmolive Soap
are the soothing beauty oils from the
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coconut palm — and no other fats
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That is why Palmolive Soap is the
natural color that it is— for palm and
olive oils, nothing else, give Palmolive
its green color I
The only secret to Palmolive is its
exctusive blend — and that is one of
the world's priceless beauty secrets .
r
Our Big
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for 19261
Here it isl Our latest Fifth
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We have ordered just about
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6m
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c^lll Work and DVo^lai^
doesn't suit fhe
World ^Today
Paramount provides
more and better en-
tertainment for the
people of today than
any human beings
ever saw before.
Let your own theatre
show you Paramount Pic-
tures and keep your dates When you know what Paramount has
with the good time houses. xr i i -r* i
You seek what Paramount shows
Anyone who enjoys great motion pictures and checks up where they
come from, keeps a sharp eye on Paramount's production program.
Seeing great entertainment is merely a question of knowing what is
being released and "when will it reach my theatre? " Here are six current
Paramount Pictures you will enjoy to the last fade-out:
Harold Lloyd in
"For Heaven's Sake"
Directed by Sam Taylor
Here is the prize surprise package of the
season, laughter, laughter all the way! Go
to the theatre as gloomy as a mummy and
stay that way if you can! This star's pic-
tures are produced by the Harold Lloyd
Corporation and released by Paramount.
Behind The Front"
With
MARY BRIAN
WALLACE BEERY ♦ RAYMOND HATTON
An Edward Sutherland Production
from a story by Hugh Wiley.
Here is the comic side of Army life
in wartime picturized in a way that is
making all America hold its sides.
Somehow these two scapegrace
doughboys win the audiences more
than regular heroes, and the way they
make love and war is the last word
in irresponsible sincerity.
Produced by
FAMOUS PLAYERS-LASKY CORP.
Adolph Zukor, Pres., New York City
Zane Grey's
"The Vanishing
American"
with RICHARD DIX, Lois
Wilson, Noah Beery and
Malcolm McGregor. Directed by George B.
Seitz. Zane Grey's epic of the Indian ranks
with The Covered Wagon in fateful power
and excitement. Don't miss the mighty
duel of Copperskin and White Man I
"The Qrand Duchess
and the Waiter"
A Malcolm St. Clair
Production
with Adolphe Menjou and Florence Vidor.
From the play by Alfred Savoir. An aris-
tocratic love-comedy set in the midst of the
brilliant carnival of Paris night life. Here's
a trip to Paris that gives you more of the
gay city than many a traveller gets.
"The Song and
Dance Man"
A Herbert Brenon
Production
with Tom Moore, Bessie Love and Harrison
Ford. From George M. Cohan's famouc
comedy success. Real romance lives and
throbs within the make-believe of stage life,
human beings loving and fighting and
hoping behind the grease-paint.
"DANCING MOTHERS'
A Herbert Brenon Production. Starring
Conway Tearle, Alice Joyce and Clara Bow.
This is the Paramount picturization of
the famous stage play
by Edgar Selwyn and
Edmund Gould in g
which set all New
York talking about the
neglected wife who
dances her way to freedom and love. Mere
material prosperity divorced from happy,
human comradeship will never chain eny
real woman, and
"Dancing Mothers"
shows you why in a
show worthy of Para-
mount's greatest tra-
ditions.
Paramount xrictur&s
"If it's a Paramount Picture it's the best show in town/
iKg)
&
WINNERS OF THE K'OMEO AND JULIET CONTEST ANNOUNCED ON PAG1
MOTION MCTWR 1
Vol. XXIII
APRIL, 1926
N«
Percy Knighton 16
Don Ryan 20
Notable Features in This Issue:
THE INSIDE FACTS ABOUT THE EXTRA
marltable human document written b) .1 real extra Drawing by Bdward Ryan
HAMLET AND THE FILMS
j.iini Barry more lii.es motion pictures and tells why Drawing! 1 > > k. R, 1 bamberlain
FOUR FAMOUS WRITERS CONSIDER THE FILMS Henry Albert Phillip* 22
1 bomai Burke! Mr Anthony Hope, Sii Arthur < onan I loyle and Ralph Blumenfeld on American picturei
THE FILM STARS TELL ABOUT THEIR GARDENS Alice L. Tildesley 24
rheir favorite flowers and exactly bow they grow them
PAGING THE FILM FATHERS Dorothy Donnell 28
An attempt t" turn the spotlight <<i publicity upon dad
SUPER-REALISM IN THE MOVIES Matthew Josephson 43
Tin- Interesting impression <>t a young and radical ■creeo critic
RANDOM IMPRESSIONS OF HOLLYWOOD Eugene V. Brewster 54
1 t in. 1 visits the coast studios and 1 «•! I s about them
The Classic Gallery 11 15
.1 Hale, Dolores Costello, Ramon .Novarro, Tom Mix, Dorothy Dw.m
No Book Learnin' Alice L. Tildesley 18
William Boyd worked In ■ rolling mill at the ane ol twelve
If They Staged Baseball in Motion Picture Fashion . Ellison Hoover 27
A cartoon you shouldn't miss
Famous at Fifty Milton Howe 31
Edward Martindel isn't exactly fifty. He's forty-eight
Just Legs ... 32
-ups ol the most tamous celluloid pedal extremities
The Candid Kid . Verne Kibbe 34
Laura I. a Plante is 110 bookworm and she has no particular ambition
The Master Mind of the Movies Speaks H. W. Hanemann 36
How the High Lord of the cinema thinks — Drawings by Kliz
Renee Makes Good Carol White 38
Anent Miss Adoree, the girl of THE CLASSIC cover
Cella Lloyd Crashes Hollywood ! John Held, Jr. 40
The further adventures of Mr. Held's bathing girl heroine
Richard Barthelmess 42
A new study of the popular young star
Masterpieces of the Screen Eugene V. Brewster 49
sideration of the big pictures of the past
Presenting Dupont of Berlin Heinrich Fraenkel 52
The first interview with the German director, Ewald Dupont, now in America
That Chaplin Complex Harriette Underhill 56
The famous comedian considered from a new angle
Evolution of a Laugh 57
The development of a Harold Lloyd guffaw
High Hat 62
The silk topper is becoming steadily more popular in the films
The CLASSIC'S Famous Departments
Flash Backs F. J. S. 44
THE CLASSIC S much talked about department is now enlarged
Our Own News Camera 46
The Incidents of the film world told in pictures
The Celluloid Critic Frederick James Smith 50
The new BCreen plays in review
Letters to King Dodo Don Ryan and Frederick James Smith 58
An amusing series of letters upon the gossip of celluloiuia
The Answer Man 63
Cover Portrait of Renee Adoree by Leo Kober from a photograph by Ruth Harriet Louise
FREDERICK JAMES SMITH, Editor and Managing Editor
Harry Carr, Western Editorial Representative Colin Cruikshank, Art Director
Classic comes out on the 12th of every month, Motion Picture Magazine the 1st, Movie Monthly the 15th
iption $.'.50 per year, in advance, including postage, in the United States, Cuba. Mexico and Philippine Islands. In Canada $3.00; Foreign
Countries $3.50 per year. Single copies 25 cents postage prepaid. United States Government stamps accepted. Subscribers must notify us at
once of any change in address, giving both old and new address.
Published Monthly by Brewster Publications. Inc.. at 18410 Jamaica \\i\. Jamaica, N. Y.
Entered at the Post Office at Jamaica, N. Y.. as second-class matter, under the act of March 3rd. 1S79. Printed in U. S. A.
Lu«ene \. Brewster, President and Editor-in-Chief; Duncan A. Dobie. Jr.. I ice-President and Business Slanafr;
I.. Ci. ('onion. Treasurer : F. M. Heinemann. Secretary.
EXECUTIVE nntl EDITORIAL OFFICES. 1" DI'FFIF.I.D ST.. BROOKLYN, N. Y.
Copyright. l°2h. by Brewster Publications. Inc.. in the I'nited States and Great Britain.
Classics Late News Page
5AMUEL GOLDWYN producing Harold Bell
Wright's "The Winning of Barbara Worth,"
with Henry King directing. Vilma Banky
and Ronald Colman have the leading roles, while
the scenario is the work of Frances Marion.
First, however, Miss Banky will play opposite
Rudolph Valentino in "Sons of the Sheik."
Metro-Goldwyn starts story of marines with
co-operation of United States Marine Corps.
Due to this arrangement, the Marine Corps has re-
fused to co-operate with William Fox in making
"What Price Glory," claiming Metro - Goldwyn
has exclusive motion picture rights to Marine
Corps. Fox officials declare they may go to court
and, if necessary, appeal to the President. Metro-
Goldwyn picture to be called "Tell It to the
Marines." It is being directed by George Hill.
Richard Barthelmess signs two-year First Na-
tional starring contract, which makes him one
of the dozen leading stars in earning capacity.
This contract will follow the completion of his
present Inspiration Pictures contract, expiring
this fall.
Contract between Dorothy Devore and Warner
Brothers terminated by mutual consent. Warners
announce they will star Dolores Costello.
Dorothy Gish returning to England to make
three more pictures for British producer, Herbert
Wilcox. "Nell Gwyn" to be released by Famous
Players-Lasky.
Cecil De Mille signs Donald Crisp to direct.
Title of Mary Pickford's "Scraps" changed to
"Sparrows."
Roscoe Arbuckle to direct for Metro-Goldwyn
under another name.
Virginia Valli leaves Universal to free-lance.
Sessue Haya-
kawa playing on
New York speak-
ing stage in "The
Love City."
Ramon N o -
varro's next to be
"Bellamy the Mag-
nificent," adapted
from stage-play by
Roy Horniman.
Hobart Henley di-
recting.
William Haines
and Mary Brian
have the leading
roles in Metro-
Goldwyn's produc-
tion of "Brown of
Harvard." This is
the picture for
which staid old
Harvard refused
to co-operate in
permitting scenes
to be shot at Cam-
bridge.
Bessie Love has
title-role in Metro-
Goldwyn produc-
tion of "Lovey
Mar y," Alice
Hegan Rice's story.
WATCH FOR THE MAY
Motion Picture Classic
A striking cover, in the spring spirit, of Colleen
Moore!
A sensational article, by Tamar Lane, on FAMOUS
BLUNDERS; revealing some of the mistakes behind
the screens of our motion pictures.
A remarkable article on MOTION PICTURES IN
JAPAN by a leading Japanese critic, Kimpei Sheba, of
The Tokio Times. This will be illustrated with some
charming pictures of popular Japanese film idols.
Clarence Brown, having completed the direc-
tion of Norma Talmadge in "Kiki," takes his
megaphone over to the Metro-Goldwyn lot.
Ernst Lubitsch to have Irene Rich in a leading
role of his next picture, "The Door Mat."
Reported that Joseph Kennedy, a Boston finan-
cier and a son-in-law of former Mayor Fitzgerald,
and associates have purchased control of the
Film Booking Offices, R-C Pictures Corporation
and subsidiaries from Lloyd's Bank and the
Grahams of London. Major H. C. S. Thomson,
president and managing director of the com-
panies, remains in active charge.
Metro-Goldwyn obtains screen rights to writ-
ings of Queen Marie of Roumania.
Thomas Meighan's brother, King Meighan,
enters films with Columbia Pictures.
First National to build studios at Burbank,
California, close to Hollywood.
Georgia Hale, now under long term Famous
Player contract, to have leading feminine role
in "The Rainmaker," a Gerald Beaumont . story.
Clarence Badger is directing and William Collier,
Jr., plays the male lead.
Greta Nissen goes from Famous Players to
Universal. She had been withdrawn from cast
of D. W. Griffith's "Sorrows of Satan."
William de Mille finishing his last Paramount
release, "The Flight to the Hills."
Margaret Morris signed to play opposite Doug-
las MacLean in "That's My Baby."
Gregory La Cava signed under long term Fa-
mous director contract as result of hits scored
by his recent Richard Dix pictures.
Metro-Goldwyn to make elaborate film version
of Jules Verne's "The Mysterious Island," with
Lon Chaney fea-
tured. Underwater
scenes will be
made in Bahamas
with Williamson
filming appliances.
Ricardo Cortez
and Alma Rubens
remarry. Original-
ly married on Jan-
uary 30 at River-
side, California,
and point was
alleged that this
was six days be-
fore the divorce
granted Miss Ru-
b e n s from Dr.
Daniel Carson
Goodman became
final.
Wallace Beery
given two year
contract by Fa-
FREDERICK JAMES SMITH writes an absorbing
inside story of the making of "THE BIG PARADE."
King Vidor evolved a brand-new way of making pic-
tures in screening this film classic.
Over a Dozen OtherUnusual Features!
mous.
Rosemary The-
by and Harry
Myers reveal that
they have been
secretly married
for a year and a
half. Married in
San Francisco.
&
Romeo -Juliet Contest Winners
THK I ircal I ov€i
t Ik- winners oi
w li i c li « e i e a n -
nounced lasl month, at-
I much attention, but
thi-N was as nothing com-
tlie widespread
interest aroused bj the
Romeo and Juliet Contest,
nail) announced in
.inu.ii} issue of The
I'icTURE ( 1 \SSIC.
The Romeo and Juliet
Contest brought an
tvalanche of Utters and
VOtes to tin.' od it (i rial
offices of The Classic.
E \ i r y o ne o t' T ti e
army of
readers seemed to want to express herself or himself on
tlif subject of the screen's ideal Romeo and Juliet.
When the letters and votes were finally tabulated,
Ramon Novarro was found to be chosen as The
- Romeo, altho John Gilbert was a comparatively
- second. Some distance hack. Ronald Colman and
Rudolph Valentino were practically tied for third place.
Then came John Barrymore, Ben Lyon and Richard
Barthelmess.
The Classic readers selected Lillian Gish as their ideal
Juliet, altho. as in the case of the Romeos, there was a
■ second. This was Vilma Hanky. Mary Philbin
5 safely entrenched in third place, while, some distance
behind, came Betty Bronson, Norma Talmadge, Greta
Mary Astor and .Mary Pickford in close for-
mat]"'hi.
'hi: Motion Picture Classic presents its con-
gratulations to Miss dish and Mr. Xovarro. Long may
they reign as the perfect cinema Juliet and Romeo.
The first prize letter, which, by the way. was a tele-
gram, is published on this page. The first prize was
twenty-five dollars. The second prize, of fifteen dollars,
went to Karlene A. Armstrong for the following letter:
Second Prize Letter
The qualification- of Romeo are: youth, idealized
fervor of youth, romance,
beauty, chivalry and cour-
age— thus Ramon Novarro.
The qualifications for
Juliet are: youth, idealized
fervor of youth, romance,
beauty, innocence and
abandon — thus Vilma
Banky.
Karlene A. Armstrong,
8th Street and 64th Ave..
< >ak Lane Park. Phila., Pa.
First Prize Letter
The romance of Romeo and Juliet carries
a lyric quality of spiritual passion. Ramon
Novarro and Mary Astor reflect no modernity,
no haphazard tricks, but play with dignity and
glowing beauty. They have the youth, in-
tensity, personal thrill and imagination to por-
tray the old-world charm of Romeo and Juliet.
ELIZABETH CARMICHAEL,
Care Mason Theater, Gorilla Co.,
Los Angeles, California.
ait would complement
ih-> and his supplement
hers ; because they are both
intelligent, sincere, and
blessed with < ternal youth
Lillian Gish and Ramon
Novarro would make an
ideal couple to play Romeo
and Juliet.
Marc \ri i 1 1. Jon \
3518 Fulton St.,
( hicago,
The third prize, ten
dollars, was awarded to
Margaret H. Johnson, for
the following letter:
Third Prize Letter
Because she is ethereally
beautiful and he is stal-
wartly handsome; because
The Ideal Romeos and Juliets
The letters and votes in
this contest resulted
in
the following selections, presented in the
order of final tabulation:
Romeos
Juliets
1
Ramon Novarro
Lillian Gish
2
John Gilbert
Vilma Banky
3
Ronald Colman
Mary Philbin
4
Rudolph Valentino
Betty Bronson
5
John Barrymore
Norma Talmadge
6
Ben Lyon
Greta Nissen
7
Richard Barthelmess
Mary Astor
8
Ricardo Cortez
Mary Pickford
9
Douglas Fairbanks
Norma Shearer
10
Richard Dix
Blanche Sweet
Honorable Mention
T choose Lillian dish
and Ramon Xovarro, he-
cause —
1. She has the dcep-
feeling, everlasting youth,
and the keen sense of romance so necessary to any Juliet.
2. Me has romance, spiritual quality. He ha- glow
and sweet lire.
3. The work of both would thus bring the fine spirit
of fire and youth necessary to the roles.
Catherine Luksii ,
1505 Warner Street.
X. S. Pittsburgh, Pa.
Honorable Mention
Romeo and Juliet were young, but with maturity i'i
feeling of the Italian race; were of brilliant and strong
character, of sweet, generous soul, passionate, but not
daring or devilish.
Thus my selection would be: Norma Talmadge and
Rudolph Valentino.
Both are fine artist- with depth of expression, romantic
appeal, splendid physical appearance and illusion of
youth.
Florence Shannon.
2428 Park Avenue. Apt. 3,
Indianapolis, Indiana.
Honorable Mention
For her incomparable youth and beauty of face and
youthful figure— even among the youngest rivals — Lillian
Gish's superior ability to
interpret the fourteen-
year-old S h a kespear e a n
Juliet should be an inspira-
tion for the romantic,
(lashing, fiery Ramon
Xovarro, the Adonis of
the screen — thus vying
with the great tragedienne.
the one object of his screen
admiration — to play the
role of Romeo a la Shake-
speare opposite her Juliet,
so increasing the already
excellent histrionic powers
of the two greatest artists.
D. [.Allen,
2661 Valdez Street.
Oakland. Cai
Honorable Mention
Who shall be the screen
(Continued on page 82)
John M-Cormick
presents
Write stars
Ireland Must Be Heaven If Irene Came From There!
The whole O'Dare family — Ma, Pa and Tippity-wiich Irene
Irene — a little bit of salt and sweetness. No wonder
a millionaire married her!
She's Here!! Scintillating,
Captivating in her Alice
Blue Gown!
CHE'S "Irene" who captured
Broadway hearts for two years,
screened with all her smiles, all her
guiles.
Millions are laughing with her,
laughing until they cry — and gasping
at the shimmering, silken thrill of
Irene's fashion pageant.
See "Irene" the moment your
theatre an nounces it. Colleen Moore
has made it even sweeter than
"Sally."
in lirat national Picture*
^There are thousands like her
J.HESE days— when delightful women
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^B ^r
k
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1 L.
M
Cannons
GEORGIA HALE
MOTION PICTURE
APRIL, 1926
DOLORES COSTELLO
^ —
II
Ruth Harriet Louise
RAMON NOVARRO
waMMm
M
^v-
■■■■■■■HHI
TOM MIX
Max Autrey
■BBaBHaaoM
e Spurr
DOROTHY DWAN
A
Remarkable
Real Life
Document
The Inside FACTS
By Percy Knighton
WITH the exception of a few nationally important
topics of the day, "Have you a chance in the
movies?" is close running in majority to the
world's greatest problems.
So far as an accurate record shows, there are many
examples of those who began at the bottom and soared
gradually to the top, a portion of their success is, of
course, due to the rapid growth of the motion picture
industry from obscurity to fourth or fifth place in the
world's gigantic affairs.
But it is true that those same men and women who
achieved fame as stars came by it honestly. In most
cases it was sweat and blood, ability and the spirit of the
conqueror, that did the trick — not pull or "stand in."
And to the exception of this rule embracing phenomenal
rises, such as, stars being made overnight, is a matter
of circumstances and luck.
I am only speaking to you whose future is bent upon
a berth in the movies, and maybe a grave, too. Other-
wise, go to California, lots of other fine men and women
conduct other lines of legitimate business. For instance,
real estate. The climate is unsurpassed, the cafeterias
unlimited. No ! I am not advertising California, Florida
might get jealous, besides, I am only a poor "extra"
character in a land where, perhaps, fifty thousand other
folks are working — mostly not working. In the movies,
I mean.
I happen to be here. I am among those present. I am
one of those queer "odd" creatures better known as "ex-
tras." I am out here in "Calif orny" taking pot-luck and
uneven lunches and playing roles from a Bolshevik to a
Roman soldier, also doing odd jobs — odd indeed ! But I
love it just the same.
Five Days' Work a Month
At present, however, we are only con-
cerned with those who are working
from five to ten days a month as extra
people — and they are lucky and glad to
get that much. But especially are we
concerned with you whose eyes may be
turning toward the great Golden Gate
with a hopeful gleam of their future
stardom ; their visionary dream turn-
ing to reality.
Who will be the Douglas Fairbanks
and Mary Pickford of tomorrow? The
John Barrymore and the Gloria Swan-
son? And who will be the thousands
of other stars? Who will gradually
slide into the thousands of vacancies
which Time makes inevitable? Who
will fill the mechanical, technical and
business places in the annals of our
great, great movies?
You may guess the answer, you may
solve the riddle, you may be right or
wrong in calculating the solution to the
above questions. You may even be the
very one who will make the grade
from the ranks of the thousands. But
whatever the answer, whosoever you
may be, please take along a few of these
facts and stamp them indelibly in a re-
mote corner of your brain — that is, if
you are movie-struck, if you are an
"extra" or prospective material for the
mill — the mill, it grinds slowly and too
often with deadly accuracy.
In the first place, tho, if you happen
to be "one of the family" with a chip
on your shoulder, you may hoot and
sneer at some of the things I tell you.
But if you are considering a trip to
Fairyland — California, where a large
part of the world's movies are made,
then consider, my dear little innocent
one, some true situations existing here
— before you take the leap.
.. ^» — -~
How men and
women by the
thousands can
clamor into a
stuffy room and
receive the daily
stab of rejection
is beyond the
power of reason-
ing
16
About the EXTRA
The Story of a Real Extra
The
Heartaches
Behind
the Screen
So here goes for hotter or worse!
Lure Like a Drug
as a warning, let me tell you thai it once you ever work
** in a picture, it is worse than a high-powered drug, it
! in your Mood, it is a very contagious habit Im-
mediately, an uncanny, unbelievable sense of fascination
it. ^rips you; in fact, strikes you with such force
that your endurance to run the race is surprising. But
too often it is the other way round. However, you find
to your amazement that at times you really have a chance
which is the first symptom of the hobo's disease. I
call it mental inertia. But when reaching this stage you
have advanced to the first degree in the Royal Order of
Moviedom, you have been permanently annexed, and,
you are prepared to make any sacrifice for your art,
sometimes you have many to make, too Bui the struggle
IS Oil.
\\ ltliout the slightesl -hadow of douht, this husi:
of playing the movies as an actor extra is the grCfl
game of chance ever invented by man. The uncertainty
of it is heart-breaking, sickening at times, often beyond
endurance. It holds first place in the baffling element-
of a minus average. It is the most hitter, ironic and
cruel, peculiar and unusual topic to discuss. And yet.
despite this, there is no end of material on which to
base true and helpful illustrations.
There are no groups of people working in any other
business in the world, any other trade, who would tolerate
the fateful result, the usual failure, the treatment received
(sometimes while engaged on the production of a pic-
ture). I do not mean that you are ill-treated or horse-
whipped, nothing of the sort. I do
mean, tho, in a mob scene that the dis-
mal existence gained, the action one
has to do, the delay and foolishness
of it all would never be accepted as a
road to success by many men and
women in other walks of life. Your
patience is put to the supreme test by
the minute. It appears a losing
game.
Hard to Get a Job
It is often much harder work getting
a job than working after you get
it. And the discouragement that goes
with the business is almost beyond the
understanding of an otherwise intelli-
gent person. Really, the whole scope
is far too technical to give in com-
plete detail. But a few points will
serve as examples.
How in the name of Moses, men
and women by the thousands, can
clamor into a stuffy, musty and dirty-
little room or shed and receive the
daily stab of rejection is beyond the
power of reasoning. Especially, after
waiting for hours to get a peep at the
assistant casting director, possibly
only an office boy.
How day in and out those starving
souls tread wearily from Universal
City in the early morning, then to
Hollywood by noon, thence to Culver
City by the waning afternoon with
the tiny spark of Hope burning dimly
in their heaving bosoms merely to ask
the fatal words. "Anything doing to-
day," and get the fatal blow. is. so
far as I know, too problematical in
the sphere of normalcy for one so
insignificant as I to render a correct
reply.
But if one-half the energy expended
in trying to break the almost impos-
sible barrier would be applied to
{Conti»ucd ov page 83)
17
William Boyd says he ac-
quired his education by
listening to other people
talk
IF William Boyd ever
decides to become
president of these
United States, they had
better get the White House
ready, for he'll be there !
Bill — he's the kind of man
one cant call "William" — is in
the great American tradition.
He's the Satevepost chap who
started out with nothing, worked
before he was in his teens, did any-
thing and everything — steel-mills,
oil-fields, orange groves, groceries,
driving trucks — and, having tried
all sorts of jobs, finally picked
out a profession and followed it
No Acting Temperament
"I haven't an actor's temperament at all, so I'm afraid I
cant talk like one," he apologized, as we strolled along
the sunny gallery at the De Mille studios.
"In fact, I'm not an actor. You don't have to act on the
screen. You have to understand the technique, know about
spacing, timing, camera angles, lights, make-up and all that,
and you have to understand the character you're playing and
simply live him. The camera will show you up if you're just
acting. You have to be terribly sincere and natural. You
18
No
BOOK
Learnin'
By Alice L. Tildesley
must have the whole personality and history
of your character inside your head and then just
open up your face and let your audience see
what's going on in there. You're not acting then.
You just are!
"When I was .getting ready for 'The Volga
Boatman,' I was worried about what to do with
him. I had read the script and knew he was a
Russian peasant, and I'd read Russian stories —
Tolstoy — and Russian history, and I thought I
knew what was back of this fellow, all the cen-
turies of oppression and injustice — the revolt he
felt inside.
"Victor Varconi played the other male role,
which made mine more difficult, since he and I
are about the same height, build and coloring.
Varconi was an officer and would, of course,
play it straight, I must be 'character.'
"First, I decided against wearing a wig and
had my hair curled. I had misgivings
about that, — afraid it would weaken my
face, — but it didn't.
And then, the very
night before we
began to shoot, the
thing came to me.
"I was walking up
William Boyd plays a
Russian peasant in "The
Volga Boatman." The
circle above shows him
in this role. At the
right, in "The Road to
Yesterday"
doggedly to success.
Pearsall
.
Bill Boyd
worked in
a rolling-
mill at
twelve
ami down in my room,
like t h i s " He
paced the length of the
dressing-room we had
appropriated, three
Strides taking him from
one wall to the other,
aiul suddenly stopped,
standing with his head
lowered a trifle, look-
be up from under
sullen lids, a figure
tense and yet quiet, as
of terrific power held
in leash. "There ! It
came like that. I saw
him in the mirror and
recognized him."
Bill Boyd has a
splendid body under
perfect control. He
isn't vain of it, but he
takes care of it because
it is part of his stock
in trade.
Worked in Oil-Fields
'T^ot my strength
swinging a sledge-
hammer ten hours a
day in the oil-fields,"
he explained, "I was
sixteen. I began to
work when I was
twelve, when my father
died, but the oil-field
was the hardest job I
ever had. I used to get
tear me down because I
going to beat me !
"I think any boy who wants to grow up into a he-man
ought to go out and get himself kicked around all over
the place and fight and struggle and endure — that is, if he
has spirit. If he hasn't, he'll go under.
"But I've never done anything that hasn't been of use
to me in pictures afterwards. Strength from the oil-
fields. In 'Steel Preferred' I was at ease among the
ladles of molten metal because I had worked in a rolling-
mill when I was thirteen. I knew how to handle myself
so that I would never be in danger. . . . Oh, I could go
on indefinitely!
"I've always worked. I didn't care what kind of job
it was, but I tried to get one that would take me among
educated people so that I could learn by listening to them
talk. That's the way I got all the education I have. Asso-
ciating with people who knew things helped a lot. I wanted
to know so desperately that I couldn't help remembering.
so tired. But I wouldn't let it
had too much spirit. It wasn't
At sixteen William Boyd swung a sledge-hammer
in the oil-fields for ten hours a day. He has
driven trucks and delivered groceries. Now he
is a film favorite
"Seven years ago, I ran out of things to do. I had
some money that I'd made in a summer resort I had con-
ducted in Arizona and at the Post Exchange I ran in
March Fields, and I bought a good wardrobe. I was in
California and everybody was talking pictures, so I de-
cided to try them. I asked Frank Miller of the Mission
Inn how you got in.
A Note to De Mille
'"r\H, Bill, you wont like pictures!' he said, but he gave
me a letter to Cecil B. De Mille. I didn't know who
Mr. De Mille was — he might have been the janitor at
Lasky's — that was how ignorant I was then !
"Mr. De Mille saw me. He told me that he thought I
might do something in six or seven years, if I started
{Continued on page 78)
19
HAMLET
John Barrymore as the immortal fourteenth-century
libertine, Don Juan
JOHN BARRYMORE says he is crazy about the
movies. He must be — literally — otherwise he would
not immerse himself in a tank of cold and mucid
water — suffering tortures that would make a starving
stuntman throw up his job — in order to inject the serum
of reality into the final scenes of "Don Juan."
.This is no pabulum of praise for a movie star — none
of that belly-wash about the handsome chappie who is so
keen for art that he insists on crocheting his own doily
for the big tea-room scene. I saw Barrymore go under
this stinking, algid flood, with a wind-machine playing
against his soaking back — saw' him go under and remain
two minutes by the watch. Then saw a hand come up —
a groping, abysmal hand — the hand of a drowning man,
clutching at the rotted straws floating on the surface.
The Aquatic Barrymore
After the hand had registered, the head and shoulders
emerged and Barrymore — in the character of the
great fourteenth-century libertine — struggled thru the
torrent to safety. I am still sneezing and sniffling from
the mere sight of it. For the scene was made at night
and the nights in this land of sunshine and roses are
frequently the chilliest, clammiest, most dismal monsters
ever loosed from Erebus.
Attendant figures — actors, property-men, electricians,
wearing oilskin trousers belted about their waists — said,
20
By Don Ryan
yes. that was Barrymore's way. When they suggested
a double in some of the scenes of "The Sea Beast,"
Barrymore snorted, "Double, fudge!" (Only he
didn't say fudge.) "I'd have to do it myself anyway!"
And thereupon plunged into the sea to grapple with a
whale or something of that sort.
Standing in dripping tights with his back against a
salamander — a small, charcoal-burning heater thought-
fully provided by the Warner Brothers— Barrymore
had the nerve to tell me that he considered the movies
a fascinating game — lots of fun — more fun, he implied
than the stage.
Far From the Greenroom
O e was a long stride removed from the subtleties of
"The Jest." A far cry from Barrymore emerg-
ing by the stage door after a comfortable performance
of "Hamlet" — emerging into a scented crowd of
women who ogled and fluttered like a barnyard when
the ruler of the roost appears.
Barrymore had yet to re-enter the tank. Waiting
for the next set-up, he sipped a cup of coffee — he is
on the wagon — smoked a Tareyton, and gave me his
opinion of pictures.
The modern demiurge who manufactures Rotarians
wholesale also gave us John Barrymore, and he must
have been a bit under the Greek influence when he
modeled this un-American-looking young American.
It is a compliment to the designer that, in spite of a
bedraggled figure, in spite of the ugly cut with pendant
streams of dried blood which had been painted on the
forehead of the actor, Barrymore was superbly hand-
some. The water-soaked garments clung to a figure
proudly delicate and strong : the line of forehead and
nose in the steamy light as pure and radiant as anything
in classic sculpture.
I attempted, evilly, to trick the defendant into some
sort of delation against the movies. But he loyally and
adroitly defended his favorite mistress. This scion of
the oldest and most celebrated acting family in America
was on the stage at nineteen. A few years later he
entered pictures, working in comedies for Famous Play-
ers. At that time he was struck by the possibilities of
this brand-new medium. He is still thinking about them
—these immeasurable possibilities — as yet only scratched
by a few of the more daring and imaginative producers.
The Amazing Possibilities
"It's an amazing thing," he said, "these possibilities of
the pictures. The pictures are not inferior to the
stage — different. Truly I have been more moved by
good pictures than by anything seen on the stage. 'The
Birth of a Nation,' 'The Four Horsemen' — pictures such
as these are as fine as anything ever performed on the
legitimate stage.
"You hear a lot of talk about inferiority of the screen
— how childish the stories, how happy the endings must
be. But they dont have to be. It is true that many pro-
ducers have not realized this fact. But I think when the
story is authentic — when the audience can smell it — they
will not only stand for an unhappy ending, they will
_-
and the FILMS
John Barrymore
Likes Pictures
K.
Drawings by
R. Chamberlain
illy enjoy it, it it is the real and
al ending for the story. The
the same in both instances —
the moving picture public is just as
intelligent a> the stage public.
"In The Sea Beast' — a classic
story by a great author — we retained
the integrity of it absolutely. This
.1 difficult thing to do, because
we hail to impose a love-story which
wasn't in the book, 'Moby Dick,' at
all 1 think we performed the trick
without doing violence to Melville."
In doing "Don Juan." a different
problem confronted him : how to
v the hero as the "personifica-
tion of amorousness," as Barrymore
explained — and, at the same time
polish him off with a satisfactorily
sympathetic ending.
The way we did it," elucidated the creator of
Don Juan, "was to make him funny during the first
part of the picture. After he is disillusioned he be-
comes a sinister character. But he is regenerated in
the end.
"Here we met our greatest difficulty. It would not do
to make Don Juan put on carpet slippers and have the
BARRYMORE ON THE
Making pictures is a fascinating game .
the stage . . . not inferior — different.
MOVIES
. . fine a medium as
I'm crazy about the movies . . . always something new . .
good pictures have moved me more than good stage plays.
The audience will stand for unhappy endings if these are
logical . . . movre public just as intelligent as stage public.
I'm disgusted with these sweet-scented jackasses I've been
playing . . . want to play somebody with intestines !
"Dr. Jekyll and Mr. Hyde" the only picture of mine that was
any good. . . . I'm satisfied with "The Sea Beast" and "Don Juan."
The movie comedies are the greatest thing in drama . .
nothing in "Hamlet" any better.
We'll have finer pictures when producers cease to undervalue
public taste.
picture fade out in a clinch. So we had him drop out of
sight. His contemporaries think he is dead, thus preserv-
ing the tradition of the great philanderer."
(Continued on page 66)
Don Juan struggles thru the torrent to safety. The
torrent was real — but Barrymore refused to let
a double do the scene
21
Four Famous Writers
Courtesy George H. Doran
Thomas Burke
Sir Anthony Hope
Pacific & Atlantic
By Henry Albert Phillips
Thomas Burke
Sir Anthony Hope
TN the small group of photodramas that stand T FOUND Sir Anthony Hope (Hawkins) of
•*■ out in my mind and memory under the **■ quite a different mind in regard to American
selective title of "the greatest" I always include films. It was a cold, foggy night and Sir Anthony
"Broken Blossoms." In fact, it tops the list. So,
then, it was but natural that I should seek out
Thomas Burke, the author of "The Chink and
the Child," which furnished D. W. Griffith with
the story of such unique blend of character —
brute and bully, tender, helpless innocence
and inscrutable Oriental passion — that made
"Broken Blossoms" the most delicate and poign-
ant study of character that the screen has ever
seen.
"The Chink and the Child" is among the
stories that make up one of the most remarkable
books in the English language — "Limehouse
talked standing with his back quite close to the
small English grate.
"I think the films are interesting, very inter-
esting. I go to see them often. They give you
so many things the stage cant. They read be-
tween the lines of stories and speak undertones
that the stage actor cannot utter. Too, the stage
cant bring in the Perfect sequence the way they
do it, nor the novel, for that matter. But they
never move me so deeply as the stage Perform-
ance does. They are, after all, 'the shadow show,
I call them!" He laughed in that voice which is
the deepest I have ever heard. "Yes, one misses
Nights." The reason of the popularity and ap- the Personality of the actor, which is, after all,
Pea! of both the book and photodrama is to be the Personality of the author
found in the fact that it is so largely the life story
of Thomas Burke himself.
As you may have gathered from "Broken
Blossoms," Limehouse is one of the worst — //
not the worst — districts of London. Here I
found the dock rats and dives, dope and dissipa-
tion just as he had described it, and lived it.
For Thomas Burke was born and bred in this
environment, and his best friend thruout years
(Both Continued on Page 64)
I was particularly interested in "The Prisoner
of Zenda," the most Popular of all the Pseudo-
romances that was ever written.
"Rex Ingram directed the last Production made
of my 'Prisoner of Zenda' — this is the third
time, by the way, that they have made it into
films. I have watched Ingram's work in other
films and I am inclined to think that he is as good
as any they have Produced. I was tremendously
22
Consider the Films
"I like the German pictures best — or the
Swedish. In them you will always find skill,
background, finesse of story, maturity, mel-
lowm
— Thomas Burke.
"I am looking forward to the appearance
of moving photographs of the fairy and spirit
world. They are bound to come."
— Sir Arthur Conan Doyle.
"I think the films are interesting. They
give you so many things the stage cant. They
read between the lines of stories and speak
undertones."
— Sir Anthony Hope.
Sir Arthur Conan Doyle
The First of a Series of Talks About Motion Pictures
With Famous English and Continental Authors
Ralph D. Blumenfeld
J1ALPH D. BLUMENFELD, editor-in-chief
-*^ of "The London Daily Express," and ac-
counted one of the greatest journalists in the
world, is an American, by the way. It was none
other than this same Blumenfeld who, with
Stanford White, built the Herald Building in
Herald Square under the financial leadership of
Sir Arthur Conan Doyle
C/£ ARTHUR CONAN DOYLE is as different
*"^ from Burke as day is from night, which is' a
fitting simile. He is a great big, smiling, spon-
taneous fellow; enthusiastic about everything,
particularly some new "finds" he had made in
the spirit world, of which he showed me the nega-
tives. Then he showed me some alleged photo-
James Gordon Bennett. .Mr. Blumenfeld has graphs of fairies that had recently come into his
been an editor in London now for more than hands.
thirty years. All movie fans will readily recall "The Lost
The films," he told me, "particularly the World," taken from a book of the same name by
American films, have done much to lower the Doyle, by the way. It is no more the story of a
literary and artistic tastes of the whole world, group of scientists who went out and stumbled
There is usually a cowboy story or a thoroly over a lost world of still-exi sting prehistoric un-
pad story in which crime more often than not civilization than it is a spectacle of the drama in
triumphs. An audience is tied down in their the lives of those mastodonic animals under the
seats — for it is not like a book you can toss aside Pressure of a great catastrophe. The marvelous
— and cant escape the bad influence. From a feature of the Picture lies in the reproduction of
British standpoint they are intensely annoying all the antediluvian — "auruses — dinosauruses,
from the fact that they all have an American tchthyosauruses, etc. — in the life.
background — / sPeak now of nine out of ten —
and an American story — which rs no credit, by
the way, to anyone concerned. The stories are
seldom big enough for universal application,
which is the test of great literature or drama."
(Both Continued on Page 64)
"How did you like the filming of The Lost
World'?" I asked Sir Arthur.
"Oh, the films did it very well, very well, he
said enthusiastically.
"Do you go to the cinema much?'
23
The Film Stars Tell
Here Are Facts that Will
Help You This Summer
By Alice L.Tildesley
Spring is in the air!
That is, for most of America. Californians get
more than their sltare of sunshine, but they miss
the lure of Springtime, too.
Right now everyone is thinking of his or her
garden. The screen folk are just like everyone
else. The Classic assigned Miss Tildesley to
ascertain the favorite flowers of the stellar celebri-
ties— and how they groiv them. Here are her
findings, of genuine interest to every garden lover
everywhere. — The Editor.
Some
Colleen Moore
/^olleen moore is a tulip fan.
"I plant my tulips in the spring,
people put their bulbs in water with enough
stones to hold them upright, but I prefer to
plant mine in rich soil in the garden. I think
they thrive better. They should be covered
with about four inches of earth and watered
daily. Keep the soil loose around them, so they
can breathe.
"A lovely effect is achieved by planting them
in beds alongside tuberoses, iris and other
flowers of the same family."
Estelle Taylor
ELLE TAYLOR-.
like trees better than flowers for my
garden. One of my favorites is the English
myrtle, probably because we had a hedge of
them around my home in Delaware, brought
ESTEI
"T
Top, Colleen Moore in her
tulip garden. Center:
Adolphe Menjou trimming
his oleander hedge. Right,
Noah Beery with his water
hyacinths in his rock garden
24
J
AboutTheir Gardens
The Players Explain
About Their Favorite
Flowers — and How
They Grow Them
m England by my grandfather, so they
always seem like old friends.
i can keep myrtle trimmed down to
a hedge two feet high; but give it plenty of
m, sunlight ami water and it will grow
10 ten feet. It stands intense heat well and
live for three weeks without water,
altho I advise frequent watering. Black
Kale is its great enemy. The tree should be
protected by tanglefoot to prevent the ants
from carrying this plague, and I use a spray
whale-oil soap dissolved in hot water
with kerosene and a green coloring matter
that prevents it from being seen on the
leaves. After forty-eight hours, I wash off
the spray."
Willard Louis
YI71LLARD Louis is known at all California
* flower shows as a champion dahlia
grower. He has created several new vari-
eties of his favorite flower and has taken
many prizes for his choice blooms.
"After your dahlias have been cut for the
Top, Of all her garden Estelle Taylor is most inter-
ested in her English myrtles. Left, Charlie Chase,
the comedian, specializes in silver daisies
season, get your tubers out of the ground and let
them stand thirty days before you separate them
from the root and 'mother bulb.' Keep in a cool,
dark place. In getting tubers ready for the next
planting, saw them — dont break them — from the
root. Be sure each one has an eye and a neck.
This is most important, as the slip must have an
eye in order to bud, and planting tubers without a
neck is a waste of time — you will not have plants.
"I plant the tubers in furrows in ground that has
been carefully cultivated and enriched. I plant in
April or May — for late season flowers, as late as
June. You need a careful eye in the selection of
tubers, little ones are likely to be much better than
big ones, but this does not always follow.
"Do not water until the plants are up, and then
water the ground, not the top of the plants.
"Deep, soft loam is necessary. Different soils
demand different treatment, but it is important not
25
The STARS and Their GARDENS
Gene Kornman
Mildred Davis Lloyd
loves her poinsettias.
Right, Willard Lewis
has won many prizes
with his dahlias. Be-
low, Irene Rich and
her climbing roses
to use the same
ground year after
year — virgin soil
gives better dahlias.
It takes three or
four years to pro-
duce a good new
variety. Polleniza-
tion has everything
to do with this, but
anyone by constant
care can raise very
fine flowers.
"I have named my new varieties after favorite
parts — Babbitt, Wales, etc., and one for my
little girl, Dorothy."
Marshall Neilan
Marshall Neilan is so fond of the blooms
that his studio is a bower of roses.
"Roses require three things — good soil, sun
and water. But remember to water around the
roots, never touching the leaves. Watering the
leaves will cause a mildew to appear. If your
roses mildew, however, you can treat them by
wetting the leaves again and sprinkling them with
sulphur."
Irene Rich
the roots, water only after the sun goes down and
believe in careful pruning. A broken or scarred branch
is cut off cleanly and the wound covered with tree salve."
Seena Owen
"/~\ld-fashioned stocks are my delight.
"Of course, in California we plant them almost any
season, and aside from watering them, leave them to
grow as they will ; but in cold climates they should be
grown from seed planted in a hotbed early in March.
The seedlings should be transplanted several times, each
time in a richer soil, and when they are about ten inches
high, they may be set out in the garden.
"The biennial variety should be sown the season
previous to that in which the flowers are desired, the
plants wintered in a cool house and grown the following
spring."
Noah Beery
To Noah Beery, the pale-blue water hyacinth has a
*■ fascination. He grows them in a pool in his sunken
garden.
They add tre-
mendously to the
striking effect of
his rock garden.
"They grow
best in from nine
to twelve inches
of still water,
thrusting their
roots into the rich
soil under the
water. A minia-
ture waterfall
keeps the pool full
of still water,
and the rest I
leave to Nature."
(Continued on
page 68)
Irene rich,
L ~„«, has
is
rose
also the
climbing
whose favorite flower
rose, nas a "Tausendschoen"
over the pillars of her home.
"I agree with Mr. Neilan about the essentials
of rose culture, but I keep the ground loose about
26
_l
By
ELLISON HOOVER
IF THEY STAGED BASEBALL IN
MOTION PICTURE FASHION
27
PAGING the FILM
By Dorothy
Donnell
Clara Bow and her
father, who now man-
ages his daughter
FATHERS are the unknown
quantity in the movies. You read
all about the stars' motor-cars,
their bungalows, their Pomeranians,
their man servants and their maid
servants. You wipe a sentimental
tear from your eyes as you gaze upon
pictures of them sitting on the edge
of Mother's armchair, or perched on
Mother's knee, their cheeks laid
against the dear silver that shines in
Mother's permanent wave. But you
would not think that the stars ever
had any fathers, tho that seems
biologically probable.
In some cases, picture players, in
their swift rise to fortune, have dis-
carded their male parents on the same
general principle that they discard four-
cylinder cars, cotton hosiery, and ready-
made clothing, as being unsuitable to
their new way of living. Many of these
fathers do not fit into the splendor of
their daughters' careers.
The Unknown Fathers
AX/hen motion picture fans discov-
ered a brief note in their news-
'/ papers recently announcing the sudden
death in Los Angeles of the father of
Norma and Constance Talmadge, they
were surprised. Mr. Talmadge never had
achieved a line of publicity, altho Ma Tal-
madge has appeared in scores of newspaper
and magazine interviews, besides being the
author of a book about her famous daugh-
ters. Indeed, Mr. Talmadge never had his
picture taken.
Research reveals that most movie fathers
are inconspicuous by their own wish. Busi-
ness and professional men, they have their own
work and have no desire to borrow any of their
offsprings' glory, proud as they are of it.
There are movie fathers who have helped their
children as faithfully as any mothers could have
done. There is J. Darsie Lloyd, for instance,
who, in the lean days of Harold's movie career,
used to cook their dinners over a two-burner gas-
stove, mend his son's coat, patch his trousers and
set clumsy darns into the heels of stockings
trodden thin with the search for work.
Treasurer of Lloyd Corporation
ow he is treasurer of the Harold Lloyd Cor-
poration and, by a newly discovered talent for
real estate, he has increased his son's fortune
many fold. But proud as he is of his famous
son, he has his own little prides, too. "Joe,"
he said not long ago to the Lloyd publicity
man, Joe Reddy, showing him a clipping from
a newspaper story, "I see here that you say
that I used to be a sewing-machine salesman.
28
FATHERS
. of course, it's nol especially important but,
w write, you mighl ju->t men-
the fact that before 1 got thru 1 was appointed
; for <i ivhole territory!"
s papa used to be a waiter in ■ res
int at Cone) Island. Things weren'l verj
us with the Bow household just then.
The mother of the family was sick in bed, and
... a pigtailed youngster in high school, bj
should have worked in a department store or
ictory to help increase the familj budget
But Robert Bow dreamed of better things for
little girl. Ever since she was a child. I lara
shown unmistakable dramatic talent and he
\ed that she should have her chance. To
her from the drudgery of housework he
would hurry home after his work was over, wash
dishes and scrub doors. His wife remonstrated.
his relatives and neighbors scoffed and said that
lling Clara's head with nonsense, but Mr.
How went on encouraging his daughter to try for
a foothold in the pictures.
The winning of a screen contest (conducted, by
the way. by the Brewster Publications) gave
Clara her chance. She was given a leading role in
"Down to the Sea in Ships," and the Bow ship
had come in as well. Soon after the completion of
the picture Clara's mother died. When she went
West, her father went too, to play mother and
father and business adviser to the little girl who
had wanted to be an actress.
An Attempt to Turn the
Spotlight Upon Dad
j°j
June Marlowe's Dad
;ne Marlowe's father moved to Hollywood because of his own busi-
5S as a banker, and not because he had the faintest idea of having
his daughter become a picture player. When she begged to try her
luck at the studios, he was dubious and tried to discourage her. But
he told her to decide for herself and if she showed the right stuff
for a movie career he would help her in every possible way. She
did, and he has.
Patsy Ruth Miller's father was a manufacturer back in the
Middle West. He brought his family to California for a vaca-
tion, with a round-trip ticket. But while he was attending a
convention in San Francisco, Patsy Ruth telegraphed him that
she had a moving picture job. Now if Oscar Miller has a
weak spot, Patsy Ruth is it. In his secret heart he hadn't a
doubt that his little girl could become as big a star as any
of them, but he spoke to his daughter with parental stern-
ness. "Look here, young lady," said he, "before I go home
and sell my car and my home and my business, I want to
know whether you are serious about this thing. Are you
going to be somebody in the movies or is this just for
fun? I'll take your word for it, but I must know."
And when Patsy Ruth opened her big brown eyes
earnestly and assured him that she was going to be
a star, Mr. Miller believed her and moved his family
to Hollywood. He has made his daughter's career
his business and put into managing it the same atten-
tion to details that he once put into the manufacture
of brooms.
Louise Fazenda's Father
Iouise Fazenda, on the other hand, did not ask Dad when she
decided to abandon the future of school-teaching he had de-
Gene Kornnian
Mrs. Mildred Davis
Lloyd and her father,
Howard Davis, who is
a newspaper man
creed for her in favor of falling down-stairs with trays of dishes
and being sideswiped with custard pies. Tho Mr. Fazenda is in
the brokerage business, his interests are distinctly scholarly. He
speaks a dozen languages, including Japanese, "delves into phi-
V
y
Mary Philbin's father was a
Chicago street-railroad worker
when his daughter won a screen
contest
29
CLASSIC
losophy and reads science in prefer-
ence to the daily paper. Louise
sneaked her comedy costumes out of
the house in a suitcase for weeks to
avoid the discovery of her low-brow
occupation by her high-brow father.
It wasn't until she began to make
a real success that she confessed
one evening that the awkward
girl in tow-colored pigtails
and spectacles who had
made him laugh so heartily
at the picture show that
evening was his own
daughter.
''And even now,"
laughs Louise, "I some-
times think that he is
secretly sorry that I'm not
a school-teacher on a salary
of two thousand a year."
Perhaps the oldest father
in Hollywood is Myrtle
Steadman's, an eighty-year-old
Grand Army man. Twenty-five
years ago he sold his wholesale
grocery in Chicago
and came to
Southern Califor-
nia to end his days.
Now he raises
choice roses in
Myrtle's garden
and entertains her
friends with remi-
niscences of
Antioch and Get-
tysburg.
In spite of the
"Junior" after his
name, William Col-
lier, Jr., is only the
stepson of the
famous Broadway
star, but he re-
ceived all his stage
training from him.
Among the pic-
ture people who
have followed in
their father's footsteps, are the Cos
tello sisters, daughters of the
former screen idol, Maurice.
Then, too, there is- Lillian Rich,
whose father, J. C. Rich, has
spent the greater part of his
seventy years behind the
footlights as an English
variety actor. In her child-
hood, Lillian's father kept
her carefully away from
the theater, and she was
never permitted to see a
play, but she had inherited
a gift for comedy from her
father. Now, living in re-
tirement in a suburb of Lon-
don, the old actor goes to see
all his daughter's pictures.
Joseph Schildkraut is another
who adopted his father's profession.
The two Schildkrauts are working in
the pictures now, and Rudolph, tho he has
Top circle: Patsy Ruth Miller and
her father. Center: Buster Keaton,
with his mother and father. Lower
circle, Jobyna Ralston and her dad
Gene Kornraan
been a prominent figure in the theat-
rical world all his life, is willing to
hear himself referred to as "the
father of Joseph Schildkraut."
Keaton, Senior
It was my father who is respon-
sible for my wooden face,"
says Buster Keaton, "when I
was a tiny kid working with
him on the vaudeville circuit.
I used to burst out laughing
on the stage whenever we
did something funny ; but
he cured me — by the lay-
ing on of hands where
they would do most good.
'Never laugh at your own
comedy,' he tqld me, 'keep
a solemn face, no matter
what happens.' "
The elder Keaton occa-
sionally takes a part in one of
his son's pictures — but now it's
Buster who gives the orders.
Conrad Nagel's father was, for
many years, the
director of a
B school of music in
Des Moines. Now
he has a studio in
Los Angeles. He
is a composer and
a musician.
Small Bennie
Alexander is
jealously anxious
that his own fame
shall not outstrip
his adored
father's. Now
managing a de-
partment store as
Daddy Alexander
does is a fine busi-
ness, but Bennie
felt that it needed
a little dressing up
to sound sufficient-
ly important.
When one of his boy friends was
coming to dinner, Bennie ap-
proached his father in some
embarrassment. "If Tony
should speak about the store.
Daddy," he hesitated, "dont
seem surprised whatever
he says. I maybe let him
think the store was a little
bigger than it is, and
when he got the idea that
you were the owner of it
instead of the manager I
I didn't just exactly deny it."
Joseph Ralston wanted a
son who would be called
"Junior," but when a daugh-
ter came to his little Tennes-
see farm she was named after
her father, so far as possible,
Jobyna." He didn't take much
stock in "Joby's" stage yearnings
(Continued on page 73)
30
Famous
at
FIFTY
By
Milton Howe
MAKING fun of Hollywood's
greatest director is a precarious
mine to do, as a chorus of ten
thousand Hollywood "yes" men will
tell you. Edward Martindel took a
chance on being bounced completely
from the good graces of those who
worship at the shrine of Lubitsch when
he took the job of Lord Augustus in
"Lady Windermere's Fan." He dared
to make fun of the little German genius
of the films.
"When I read the script which Lu-
bitsch had written, it seemed that all the
actors turned to stone." said Martindel.
"I would read a scene in which 'Lord
Darlington turned to stone.' Another
excerpt from another scene would read,
"And then Lady Windermere turned to
stone,' and finally I came to a scene in
which I turned to stone ! When I saw
Lubitsch I told him that we didn't seem
to do anything but turn to stone. He
laughed and said he would use salt next
time. It was his way of telling the
actor to assume an air of severe silence.
How Lubitsch Directs
J could ape Lubitsch and make fun
of him, and that may be the rea-
son we got along so well. He has
a marvelous sense of humor.
He would say, 'Eddie, you
walk so funny. Do it like
this . . . you know . . .
just walk right in.' And
he would illustrate by
walking into the scene
himself. When he re-
hearsed the scene again,
I aped his peculiar walk.
'Is that the way I walk!'
he exclaimed when he saw
me waddling into the room.
'My, my, my! Well, walk
your own way, Eddie.'
"The cameras were grinding
on another scene when suddenly I
heard his voice from the direc-
torial chair. ' 'Pick up that M
cigar, Eddie.' I couldn't see JJSred
any cigar and finally termi-
Witzel, L. A.
Edward Martindel isn't really fifty. He is forty-eight. He was
prominent on the stage in light opera before he tried pictures
nated the scene by looking under the carpet. He meant
cigaret, but to Lubitsch they're all cigars.
"During the taking of another sequence
he shouted, 'Look dumb, Eddie, my
God, look dumb !' I told him I
looked naturally that way and I
couldn't possibly look any
dumber.' T know,' he said.
'but you can look a whole
lot dumber.'
"I pray nightly that I
may be given another role
under his direction.
Lubitsch has a thoro un-
derstanding of the actor
and a thoro understanding
of story value. He allows
a player plenty of freedom
with a part. Every morn-
ing after witnessing the
previous day's work in the
projection-room, he would put
his arm around me and say, 'That
was fine, Eddie.' He seemed
to be tellinar all the plavers how
el was in pictures for six years before he , ., . *". '. „
as Lord Augustus in "Lady Winder- good they were, yet at the same
mere's Fan" {Continued on page 5/)
31
If there are legs more famous than those of Gilda Gray (above),
we would like to know the name of their owner. Gilda's are
international. Right circle, Betty Compson about to dive into
the Cruze family bathing-pool. Betty has always been known
for her — er — pedal extremities
E. R. Richee
What gathering of legs would be complete
without those of our own Mary Pickford.
Here you have comedy and personality
rampant. Right, Carol Dempster. Carol's
legs, be it noted, come nearest to the Parisian's
ideal. For further particulars, see Carol in
"That Royle Girl"
32
LEGS
Top right, Mme. Diamond,
the famous Parisienne who
has been declared, by a judg-
ing committee of famous
artists, to possess the most
perfect limbs in all Europe
Top circle, the famous legs of
little Ann Pennington, long a
feature of the Ziegfeld revues.
Yes, yes, poems have been
written about Ann's knees, but
we wont quote 'em here
Right, Gloria Swanson caught
in an unguarded moment. Here
you have the real Swanson
supports
And, left, Fay Lanphere, who
was awarded first prize in the
national Atlantic City bathing-
girl contest of last year. Here
you can see why the Los
Angeles girl was given the
title of "Miss America"
33
Candid
By Verne Kibbe
WHEN one lays
a lamp on
Laura La
Plante, emotions akin
to those evoked by a
South Seas sunset twist and turn under the
second waistcoat button — to wit:
"Gawd ! Ain't nature grand !"
One feels like a discoverer; like dashing
off to the nearest land office to file a claim or
at least look up the title.
Optically Pleasant
It is such a relief, for interviewing, as it is
called, a lady of the lenses is not always
what it is cracked up to be. In fact, it is some-
thing of an uncertainty, similar to opening a can
of oysters in July, an adventure calling for more
than a modicum of courage, if not genuine intestinal
fortitude.
One usually heaves a sigh and phones the lens lady's
terrapin or press-agent for an encounter with the desired
dazzler. Press-agents are now called terrapins because of
their impenetrable shell or crust and also because they are never
I've No Particular
Ambitions, says
Laura La Plante
Question: Do you genuinely love
\our work ':
.|i:,;,vr; It thrills nic beyond words.
\sp the hands ecstatically: roll the
5 upward and squeeze the last drop
fervor out of this conversational
ipons
Question: Who do you believe is
the greatest director since M<
Answer: O-o-o-o-o-oh ! (Cross be-
n a sigh and a gargle). Why.
Mister (here insert the name of
your present director — if any — or the
name oi the one tor whom you want
to work ) . He thrills me beyond words !
Who
QutsHon:
critic ?
Answer: (Be your-
self and answer sim-
pl\ ). Mv wife, mother,
brother, sweetheart,
butter-and-egg man, or
what have you. (Be
sure and cross out un-
desirable words, re-
membering what
your press-agent
has said about
the policy
o f y our
studio.
is your severest
Freulich
Laura La Plante has no desire to be a great actress. She
says she's simply going on playing until death or matrimony
intervenes
So you can see why I approached the La Plante maison
(house) with more or less sang-froid (cold feet), and the
two goat-skins.
The languishing Laura, herself, in person, answered my
furtive poke at the door-bell.
Laura Answers the Bell
t
Che was as free from gush as a deaf and dumb debutante.
With one hand she despoiled me of Tamar Lane's tome and
whisked my goat-skin of guff from under my arm with the
other. And this in a moment, .a single age-long second, leaving
me standing alone in the center of the La Plante living-room
in the full glare of her past, present and probably future b. f.
(boy friend and also big fellow, hence my secrecy I.
After an introduction and a single sniff of disdain, said b. f.
stalked heavily from the room, leaving me alone with Laura.
The following inventory made at the time is submitted for
your approval :
Hair: Yes!
Face: Yes! Yes!
Eyes: Yes! Yes! Yes!
Figure: A thousand times Yes!
Then without further ado we plunged into our work.
(Continued on page 80)
35
The Master Mind of the
By H. W. Hanemann
HIS face displayed the serenity of a Buddha
along with the eagle eyes of a traffic policeman,
the pinched nostrils of an artist, the firm
mouth of a bank manager and that schoolgirl com-
plexion. He was attired in Oxford bags and a Rus-
sian blouse. He reclined on a divan and toyed inter-
mittently with a hookah. On his head he had placed
a silk hat and his toes were hennaed.
The All-in-All Speaks
LJe had been indicated to me as the Man at the Top,
whose scratchings on the surface of the motion
picture industry were historical. It was whispered
about that he was the Power, the All in All, the
Fountain Head from which gushed the millions of
celluloid feet of the past and present and from whom
the billions of celluloid feet of the future were trust-
fully expected. He was, to make myself plain, the
projected personality of all the people that make the
movies what they are.
"You have come," he said.
"Yes, Master," I replied. "Yes," is an extremely
handy word about the industry.
"You have come because I have summoned you. My
Eyes watched your progress, my Hands made smooth
your way. There was a door that was not a door and
yet . . . There was a ceiling, which, if one understood,
was not so much a ceiling as a path. ..."
"And so's your old Michael Aden's recent visit to
Hollywood," I put in. I knew whence had come that
"door-not-a-door" speech.
"Dont interrupt," he said severely. "You are a worm."
"Yes, Master," I said.
"And stop saying 'yes' all the time. You are not on
my pay-roll." He paused, and
tossed a lump of lakoum to a
spotted ocelot that lay
drowsing on the rug.
The Interview
Background
"Dretty nice
place you
have here," I re-
marked, feeling
that we didn't
seem to be get-
ting anywhere.
"Hah!" he re-
plied, "I know of
what you are
thinking. This
milieu is not
Here is an interview with the Arch-Master of the
movies.
Here is the man whose scratchings have done so
much to the surface of the industry.
Here speaks the director who first used the
United States cavalry in a picture, who held apart
the Red Sea in "The Ten Commandments," and who
created the floating bed in the middle of a lily-pond
boudoir.
He wrote that immortal subtitle : "Came the dawn
to gild with its rosy fingers the snow-clad peaks
of the Sierras."
You will want to know the Master's real thoughts.
what you had expected. You would have me in a
bare walled cell, pierced with high, narrow, heavily
barred windows "
"That's not a bad idea," I agreed politely.
"You would dress me in the habit of a monk and shave
my pate. You would surround me with sterilized asceti-
cism— me, the first man who ever used the United States
cavalry in a picture, who held apart the Red Sea in 'The
Ten Commandments,' and who dreamed 'Broken Blos-
soms' and wrote it down ten minutes after I woke up !
"You did all that?" I asked.
"My child," he replied, "that is nothing. I have as
many facets as a diamond, as many moods as April. The
colors of the rainbow are mine, and my overtones — ah !
my overtones !" he shuddered and clasped his hands
about his head. "Shall I, then, breathe in an empty cask,
or shall I permit my surroundings" — he indicated the
room — "to vibrate with my soul?"
"Yes," I replied, risking another reprimand.
"Tomorrow," he continued, "my mood will have
changed. Accordingly, this divan will become a swing-
ing hammock, this water-pipe a long black cigar. I shall
change my Russian blouse for the coat of a Japanese
fisherman and my Oxford bags for a kilt. I shall wear
ballet slippers. The day after — who knows? Girt cap-
a-pie in a full suit of armor, I may ride about on a small
velocipede. And why?"
"Why?" I echoed.
The Master Mind at Work
"T'hat I may create. Do you remember
a picture in which the bed of the disso-
lute beauty was a boat floating in a lily
pond in the middle of her boudoir?"
"If there are cabaret scenes, swimming
pools, orgies, romping flappers and faces
that appear in the heart of a rose," says
the Master Mind, "it is because I wish
to have cabaret scenes, swimming pools,
orgies, romping flappers and faces that
appear in the heart of a rose"
36
Movies Speaks
Drawings by Kliz
"Can I ever forget it ?" 1 assured him.
"/ thought of that . Like' Jonah, 1 wu inside the whale in 'Down to the
Sea in Ships.' It was 1 who sent Martin JohnSOfl into the heart of I'.orneo
rod who sent the gunboat to his timely rescue. I timed the gunboat 1 in-
troduced Flaherty to Nanook of the North and told them they ought to get
to know each Other better. I told von Stroheim he was a -nan 1 loved to
1 taught each one of the Four Horsemen to ride. ..."
"I am beginning to understand," 1 murmured. "And the scenery in the
'Cabinet oi Dr. Caligari'?"
' \ joke of mine. One must have one's relaxations. That was the
day my house was being done over. Fools! They took it seriously. I
huilt the castle in 'Robin Hood.' I created the cathedral in 'The Hunch-
hack .' Do you know why 'The Last I-augh' had no subtitles?"
"N'o," I said.
"Because 1 couldn't bother to write them."
"Oh," I said, "you do those, too?"
"Who else? 'Came the dawn to gild with its rosy fingers the snow-
clad peaks of the Sierras — only a mother's love can save that tiny
atom of humanity from Eternity's brink.' Those are mine — mine —
mine
"That accounts
wondered. . .
"Movies Are Thus and So"
for it," I said. . "A good many people have
"The entire world has wondered. They say, 'the movies are
thus and thus — and why ?' I answer, 'because of me.' Quinn
Martin. Harriette Underbill, Robert Sherwood, what do they
understand ?"
"Not much," I replied. Merely to be agreeable, I assure you.
"In 'The Gold Rush,' I held on to the end of the rope that
kept the cabin from falling over the cliff. I held on by my
will-power. I taught Lon Chaney to make faces and Gloria
Swanson to speak French. I breathed passion down Pola
N'egri's neck in her cradle. I curled Mary Pickford's hair."
"Did you " I began.
"I did," he replied. "I dont know to
what you are referring, but I did it.
Other producers, director, actors may
have assumed the credit, but it is be-
cause I have chosen to have them do
so. 'Thrice Caesar refused a crown ;
Charles the First had his Cromwell ; re-
member the Maine !' "
(Continued on page 81)
37
Ruth Harriet Louise
Renee Adoree's performance in
"The Big Parade" took her from
the ranks of the second-raters and
put her in the ranks of those who
belong. Right, as Musette in "La
Boheme"
SIX years ago, William Fox
produced a motion picture
from a story written by
Georges Clemenceau, then pre-
mier of France. It was called .
"Les Plus Forts," which, translated in English for the billboards,
meant "The Strongest." There was a great fuss over the picture and
the Tiger himself was delighted because, being only human, he
aspired to scenario writing.
But the picture now is important in movie annals not because
it was written by Clemenceau but because it marked the debut of
Renee Adoree. At the time "The Strongest" was produced, Miss
Adoree was completely unknown and obscure. She fell into the
leading role of an important picture quite by accident. The Fox
company wanted a French actress in the cast, probably out of
deference to Clemenceau. And Miss Adoree, having been a circus
performer, a dancer, a vaudeville artist, a cabaret singer and a small-
time actress, saw no reason why she shouldn't take a fling at the movies.
Renee
Makes
GOOD
By
CAROL WHITE
Miss Adoree was not
particularly wonderful in
the picture, but she
wasn't so bad. She was
good enough to be signed
up for leading roles at a
satisfactory salary. She
was engaged to play
leads in a series of
comedies that Tom
Moore was then making
for the Goldwyn com-
pany.
Instead of heading
back to Paris, Miss
Adoree went to Cali-
fornia and became so de-
lighted with the movies,
the climate and her new
opportunities, that she
promptly married Tom
Moore, just by way of
sealing herself definitely
Ruth Harriet Louise
The Girl
Who
Became
the Talk
of Holly-
wood
with one
Role
to her new
career. H er
marriage to
Mr. Moore
didn't last but
her union to
her career did.
I n d Mis s
Adoree is just
as happy any-
way.
In spite of
the fact that
she was un-
usually for-
tunate in be-
ing thrust im-
mediately into
»i t ' d on
page $$)
Both photos
Ruth Harriet I.misc
39
CELLA LLOYD Crashes
WHAT'S GONE ON BEFORE
Only a few months ago Cella Lloyd stood behind a counter in Blatz's
Emporium. She dreamed of Screen Stardom, but, alas, Fame seemed far
away. Then Cella won first prize in a Big Bathing Girl Contest — and the
peaceful existence of the Blatz Maison was tossed Topsy-Turvy. Cella
told Siegmund Blatz what she thought of him and departed for Hollywood.
There the inventor of the Babylonian Flashback, the great director, Horace
De Grind, took over her artistic career. The eminent De Grind encoun-
tered difficulties until it occurred to him to put Cella in her one-piece bath-
ing suit. So the great super-special, "Passions of the Younger Set," got
under way. Now read on !
Scene I
The Sap, Cella's home-town sweet-
heart, accompanied by Mr. and Mrs.
Lloyd, comes to visit the young star
in her Hollywood bungalow. The
Sap, in a rented tuxedo, wonders
where all the money comes from.
Also he figures his chances at winning
Cella to be nil
Scene II
In honor of her father and mother, Cella
throws a regular Hollywood bathing party.
The great De Grind comes — and so, too,
does Roily Quixote, the screen colony's
newest sheik. The Sap • dopes out his
chances to be less than nil
40
HOLLYWOOD/
Scene III
Pa Lloyd is a problem in Holly-
wood He hi// revert to type.
Indeed, ever since the first star
discovered Hollywood, fathers
have been a problem. Cella solves
the difficulty by keeping Pa com-
fortable in the bungalow kitchen
Scene IV
Mother is quite different, how-
ever. She takes to silk and
lorgnettes like a duck to water.
So Cella gives a reception for
Mater — who makes a hit and
becomes the talk of Hollywood.
Continued next month
By
John Helix ]r
>
>j
41
Frank Bangs
RICHARD BARTHELMESS
Dick hankers for a Western picture of the great open
spaces where stars are cowboys. Here's how he'll
look when he gets it
42
Super- Realism in the Movies
By Matthew Josephson
Mr Josefhson is a well-known young radical n
n taking a profound interest in motion fic~
i !r has ■ vrckm i e, The I >oi
I'm \'iu Republic, The Nation <'m/ other
He was an editoi of I'm Broom and
N
ONE returns as from a Robinson sojourn of
several years' absence from the cinema temples to
find that the movies have unconsciously, and by
imperceptible stages, grown up. Curious, quiet, blood
revolutions have come and gone under the surface.
The last winter season offered such spectacles as
-Stella Dallas." -The Big Parade," "The Merry Widow,"
"Lad) Windermere's Ivan." Names that are already
conjured with as landmarks in the history of this new
art. And it is astonishing also how clearly the directors,
Henry King, King Yidor, von Stroheim, Lubitsch, emerge
the dominating spirits of these dramas in black and
white. It is as if you had been listening to the same or-
chestra play the same music for a long time, and then sud-
denly became aware of a more competent and inspiring
leadership, of an unflagging spirit knitting it all together.
intensifying the shadows and the lights. . . .
And quite as gradually it dawns upon your Robinson
Crusoe of the brief nap away from the movies that the
technique of them is now cleaner and firmer than that of
the older pictures. Both directors and actors seem to know
more about what they want to do, and to have profited
silently by their own experiences or errors. The camera
itself has undoubtedly become a more devilishly accurate
instrument. And there are so few waste motions: every
piece of furniture, every bit of foliage is properly placed
or composed within a de-
sign ; the directors seem to
realize that even their stars
are only tools, things that
reflect so much moving
light and shade back to the
camera-lens, so that if a
book or a hat is more im-
portant to the whole effect
than the expensive and
temperamental actress, the
book or hat has its own
bright holiday.
Says Mr. Josephson
"It is astonishing how clearly Henry King,
King Vidor, von Stroheim and Lubitsch
emerge as the dominant spirits of these dramas
in black and white.
"American pictures outbid all others abroad
because of their vivid movement and energy.
"Lubitsch I regard frankly as a dangerous
influence.
Cf.veral years ago, in the
° winter of 1922-1923, I
chanced to visit, in Rerlin,
the sumptuous studios of
UFA. where I saw that
brilliant fermentation out
of which came so many
famous German pictures. Talking to the German direc-
tors, I became aware of the rapid developments that were
taking place. They were proud of their historical
romances. "Henry VIII," "Peter the Great," "Othello."
all lavish with perfected detail, scientific atmosphere,
and artfully composed studio sets. Also of that weird
and imaginative "Cabinet of Dr. Caligari," black flower
of post-war Expressionism, which I had already seen in
Paris in the guise of a Swedish masterpiece. And yet,
much as I respect and hope for from the Germans' gift
"Henry King's 'Stella Dallas' was undoubt-
edly the outstanding achievement of .the
winter."
for the theater, the drama, 1 come to America for certain
qualities and achievements in the film thai are inimitable
and unrivaled. . . .
♦ * *
Cok my own part. I never forget that the motion picture
means JUS1 that: it involves motion. It has seemed
necessary to me thai the forms in the screen be afo
in an eternal movement. The moment they stopped, or
had the effed of Stopping, 1 lost interest. Now e\en in
the best German films at times, the directors had a way
of getting lost in the "literary" content of some clever or
ironical hook or play. The picture suddenly became si
{i.e. motionless), and I found myself watching a dull.
reasonable-looking sel that rarely changed or assumed
any fresh meanings for me. while the wise or witty prob-
lems of life were being worked out between conscientious
actors and overworked subtitles.
Now our restless and animated Americans, with their
Spectacular American scene, make the most admirable
subjects for the film. American pictures still hugely out-
bid all others abroad because of the magnetic attraction
of their vivid movement and energy. Always the Amer-
ican films seemed to "follow the ball," even in those
innocent pictures of Western life as it never was. there
were things that escaped them, moments of a tremendous
reality that the eye as it watched knew was deeper and
more revealing than any reality it had ever seen !
Cixce the motion picture is purely a visual art, the eye
^ strains to see things untampered with, unaltered, just
as they are, in the penetrating flashes of the camera.
Motion we have never
actually seen before. The
mass of a face spread over
twenty feet of screen in
mobile lights and shadows
we have never been able to
study with so much com-
posure. The spinning of a
wheel, the gallop of a
horse — all these common-
place things have for us a
super-reality that no other
art ever presented ; and
since we know so little
about the world we live in,
and are assured now that
all is relative (!) we hunger
incessantly to see more of
this world we never really
see. In every direction and
every corner of our daily
lives the screen brings such
illumination that unconscious habits or gestures or ex-
pressions of the mouth and hand become tremendously
important things. To me this has always been the genius
of the films.
Ts it not time to take stock, then, of the present-day films"'
*■ Do the directors on whom the whole business depends
realize these qualities? Delighting in the competence,
orderliness and intelligence of these men. Cruze, Lubitsch.
(Continued on page 70)
43
E
AST month we picked some flaws
in the skill displayed by the
Pacific coast organization of
FLASH
By F. J. S.
press-agents, the Wampas, in select-
ing baby stars. If we remember
correctly, their selecting average,
running over a period of five years,
ran to exactly .138.
Modesty prevents us from making
a comparison with the discerning
ability of the Wampas. However (business of The magazine is called NICKELODEON
blushing), in the August issue of THE CLASSIC MASTERPIECES and it is given over to the
we mentioned the fact that during the coming best thought in the industry.
year 950 motion picture dramas would be pro- For instance, we would publish contributions
duced but that just twenty of them would be of from all the leading New York screen critics,
consequence. We would have F. Mordaunt Hall, of The
Yes, we named the twenty. And all but Times, contribute one of his characteristic re-
one of the box-office hits of the subsequent views, except that we would insist that he tell
months were in that twenty. For our chosen the plot in detail of the film in question. And
twenty included : "The Big Parade," "The Merry we would have Quinn Martin, of The World,
Widow," "Ben-Hur," "The Gold Rush," "The tell exactly how he discovered Harold Lloyd
Freshman," "Don Q," "The Pony Express," some years ago.
"Sally of the Sawdust," and "The Unholy We would get an article from Fannie Hurst
Three." Our list included too, "La Boheme," telling the literary throes of creating such a great
"Mare Nostrum," and "Moana of the South story as "Mannequin." This would be a fine
Seas," the fates of which remain to be seen, help to people planning to enter future scenario
We missed guessing just one big hit, "Stella contests.
Dallas." We would answer everyone who attacked the
Pretty soon we are going to select our chosen screen by declaring, with as much heat as we
list of next year's hits. Producers and exhibitors could generate offhand, that the aforementioned
are welcome to look over the list — and reap attacker was just a disappointed person who
their respective fortunes.
Yes, come to think of
it, with nine hits out of
twenty selections to date,
our guessing average is
.450.
Naturally, it is the
easiest thing in the world
to make lists and predic-
tions. We ■plead guilty
again in selecting the sex
best sellers of the screen
at the present moment
of palpitating to press:
Vilma Banky
Norma Shearer
Dolores Costello
Renee Adoree
Greta Nissen
Esther Ralston
Everybody loves to im-
agine things. We have
an imaginary film maga-
zine in which we publish
(mentally) all the things
that we (personally) like.
44
ALICE JOYCE
An impression by Wynn, Paris
had tried to sell sce-
narios.
We would run a lot of
pictures oi Hollywood
stars' backyards, showing
the complete extent of
the bathing-pool vogue.
And we would have
Marie Prevost pose on
the edge of everyone of
the pools.
We would run a lot of
pictures of the young
ladies mentioned in the
preceding item on this
page. And we would
throw all pictures of
Ernest Torrence et ah
into the wastepaper
basket.
We would run only
such interviews as the
one in this CLASSIC
with Laura La Plante ;
i.e., chats with frank
cuties who did not try to
palm off the idea that
they loved Strindberg.
We would only review
productions by King
BACKS
About Pictures and People
Probably the moil interacting
CVCMlt <>t tile- ilUtllMIM -
a ill be the launching <>t I I
son as a star in special pi ms.
As Miss Swanson herself point
out in a recant CLASSIC, she i
been starring in moder.i *i i-pri
program pictures, altho critics have
frequently commented upon these as
it they were specials.
Vidor, Ernst Lubitsch, Eric von Stroheim and Gloria lifted these to prominence hy sheer
John Robertson, or, upon favorable report, those personality. We doubt if there is a more vivid
of certain German directors. Rex Ingram and feminine figure in all picturedom than Miss
Henry King. Swanson. She has gone through a number of
We would review more pictures starring eras in the development of her career, be it noted
Richard Barthelmess and Richard Dix because, She was under the De Mille influence for a
in NICKELODEON MASTERPIECES, we time and then after that she was a devotee of
wouldn't care how much our personal liking for Elinor Glyn, the lady who discovered the
these chaps brought superlatives rushing to our asterisk. She threw off these influences, began
typewriters. to develop rapidly and hit her stride in "The
We may go on baring our editorial soul (or Humming Bird.''
lack of it) next month. We 11 see. Up to that time she had been looked upon as
a wearer of picturesque attire. In brief, she was
a clothes horse. But she has used her brain in
Last month we handed out a lot of medals to developing herself and she has forced her ac-
the unsung heroes of the screen, the men who ceptance by the public as a big star.
do the real work and never get the credit. Some- Miss Swanson's first vehicle, we understand,
how we overlooked the unhappy fellow who did is to be an ornate adaptation of 'The Miracle,
the cutting of " Ben-Hur. the Max Reinhardt spectacle which was 1m-
Imagme trimming the thousands of feet of ported a year or so ago witk a great deal of
original negative down to the mere twelve reels theatrical hokus-pocus by Morris Gest. This
of the "Ben-Hur as it
is being shown now! The
by the
cutter s name,
way, is Lloyd Nosier,
and something ought to
be done about getting
folks to rush some fan
mail his way.
My spies report to me
that 1,600.000 feet of
negative were shot in
making "Ben-Hur," from
which 800,000 feet of
positive were printed.
Nosier cut this 800,000
down to 12,000.
The Jof>pa Gate se-
quence, shot in Italy, was
trimmed from 100,000 to
1,000 feet, while the
Roman galley sequence
was lof>f>ed from about
132,000 feet to 1,500.
The chariot race occupied
originally 200,000 feet of
negative. The race now
runs 1.000 feet.
Nosier must have cut
his film like a dyspeptic
city editor.
ROD LA ROCQUE
An impression by Wynn, Paris
is a version of the old
medieval legend which
also served as the basis
of Maeterlinck's ''Sister
Beatrice.
This old Dutch legend
is a delicate subject for
the screen. It relates of
a nun who is seduced
away from her convent
by a brash crusader.
When she returns, she
finds that her place has
been assumed by the
Virgin, so that her ab-
sence has passed without
notice. The legend points
the moral that love ex-
tenuates all.
We suspect that Miss
Swanson will play the
runaway and the image
of the Virgin which comes
to life and assumes the
role of the nun. In the
Reinhardt production
these parts were played
by two actresses. Lady
Diana Manners being the
(Continued on page 86)
45
Out^
OWN
NEWS
CAMERA
Harry Cooper, winner of the $10,000 Los
Angeles national golf championship, visited
the Lasky studio right after the tournament.
Naturally, he talked to Bebe Daniels, who
loves golf. And naturally, the press-agent
snapped 'em both. Cooper hails from Dallas,
Texas
No, Virginia Bedford isn't
doing a seven-league-boot
stunt. No, indeed! She is
merely jumping over a mo-
tion picture miniature, a
tiny farmhouse built in the
studio
46
.,
Ladies and gentlemen, we present the
King and the Queen of "The 1'iest.i
of the Tropics." held in Miami.
Florida. The City of Realtors had a
gay celebration. You will note that
Ben Lyon was the king and Eugenie
Selma the Queen. The hobo whiskers
had to be grown by Ben for his next
screen role. Hence the comedy king
appearance
Joan Crawford breaks into The
Classic so frequently that we hardly
know what to do about it. Just when
we had made a resolution not to use
her picture for awhile, she went and
was snapped demonstrating a high
kick. Do you blame us for breaking
our resolution?
Thomas Meighan went to Florida to film scenes of "The New
Klondike," in which he plays a baseball pitcher. Here you may
observe Gene Tunney, the fighter (at left), and Gene Sarazen, former
open golf champion, looking him over at Miami
47
The CLASSIC'S Own News Camera
Hollywood Honeymooners: Roy D'Arcy and his bride, the
former Laura Rhinock Duffy, daughter of the vice-president
of Metro-Goldwyn-Mayer Pictures: Remember Roy as the
crown prince in "The Merry Widow"?
Stellar disclosures continue! Here is
Norma Talmadge as the piquant French
gamine, Kiki, played on the stage by
Lenore Ulric. Herewith is the Talmadge
Kiki in the theater scene of the screen
version
*-w-^WR-
Being a stellar favorite has
its tribulations, as we have
intimated before. The item
of avoirdupois is a vital
problem, for instance. Here
you have Bebe Daniels keep-
ing in training with her
friend, Marie Mosquini. They
do this — and twenty other
convolutions every morning.
All these are designed to
keep the. hips at the right
i weight
48
Masterpieces of the Screen
By Eugene V. Brewster
IF anybody were to ask who was the
greatesl general thai ever lived,
who was the greatest phil
pher. or the greatest prize-fighter,
or what was the greatest paint-
or novel, or poem, how
could one answer"- How can
one compare a race-horse with
indeer, both being per-
animals of their kind?
And so. how are we to
compare "The Birtli of a
Nation" with "The Last
Laugh"' We have no yard-
stick with which to measure
the qualities of a picture
and, therefore, we cannot
compare pictures with scien-
tific accuracy. Again, a picture
may not please us and yet be a
masterpiece. Likewise, a picture
may be very bad technically and yet
please us immensely. Let us see if we
cannot formulate some sort of diagram,
chart or schedule of qualities that a one
hundred per cent, picture should have.
First, it must have story interest. While
pictures of a mere rose, and a simple "scenic" might be
masterpieces of their kind, they could not be rated as
one hundred per cent, pictures because they do not include
many of the qualities that a one hundred per cent, picture
must contain. Strictly speaking, a one hundred per cent,
picture must have all the elements and qualities that a
picture could possibly contain. Let me try to name some
of those qualities :
EUGENE V.
© Lumiere
BREWSTER
Drusilla with a Million
Foolish Wives
perhaps, that has ever been conceived;
therefore, it other things were equal
the lattt far tin- greater pic-
ture. I he former mighl bi
hundred per cent ol its kind,
just a- a picture of a
might he, hut the "kind" i^
not the greatesl possible and
therefore, these cannot he
classed as one hundred
cent, pictures. The
movie drama ever pro-
duced, "The Great Train
Robbery," was a ma
piece of its kind and for it^
time, and so was "The Birtli
of a Nation." which came a
dozen or so years later ; hut
neither of these would be a
Y masterpiece today. Here is a
group of dramas that were master-
pieces of their kind and for their
time :
Driven
The Jack-Knife Man
The Lady
Tol'able David
Broken Blossoms
Revelation
A Tale of Two Cities
B
Story interest
Direction
Theme
Acting
Heart interest
Beauty
Instructive value
Characterization
Dramatics
Titles
Climax
Construction
Universal interest
Suspense
Spectacle
Box-office value
Photography
Cast
Morals
Historic Value
Finesse
Eugene V. Brewster selects the six masterpieces of
the screen:
The One Hundred Per Cent. Picture
There are other
qualities, but these
will suffice. Some
of these may not be
necessary to a one
hundred per cent,
picture, you may say,
such as "morals" —
a picture need not
preach or point a
moral to be one hun-
dred per cent. Yes,
but if it does contain this quality, is it not so much the
better ? A one hundred per cent, picture, you may say. need
not be a spectacle and have gorgeous sets and stupendous
mobs; but. if it does, is it not a greater picture with than
without? The theme of "The I^ast Laugh" was very
simple, while the theme of "Ben-Hur" was the greatest,
"Ben-Hur"
"The Wanderer"
"The Ten Commandments"
Masterpieces of Their Kind
ut the same class of picture has since been equaled
and surpassed ; therefore, they are not one hundred
per cent, pictures. "The Lost World" was a masterpiece
of its kind and unique, but it did not contain all of the
elements of a one hundred per cent, picture. "Shoulder
Arms," "The Kid." "Safety Last," "Introduce Me,"
"Seven Chances" and other comedies were masterpieces
of their kind, but they were not of the one hundred per
cent, kind and could not possibly contain all of the ele-
ments of a one hundred per cent, masterpiece. "The
Miracle Man" and "The Four Horsemen" were also
great, but they were not of the one hundred per cent.
kind. Several of the pictures of Mr. Fairbanks were
masterpieces of their kind, notably "Robin Hood," and so
were some of the "histories" like "The Thundering Herd"
and "The Pony Ex-
press," but none of
them contained all
of the elements of
a one hundred per
cent, picture, even
tho they were per-
fect so far as they
went and even if
it were impossible
to have added any
of these elements
without marring the picture. There is still another group
of great pictures :
The Hunchback of Notre Dame The Sea Hawk
The Phantom of the Opera He Who Gets Slapped
The Merry Widow The Unholy Three
The Vanishing American Kiss Mc Again
{Continued on page 79)
"Stella Dallas"
"The Big Parade"
"Lady Windermere's Fan"
49
The Celluloid Critic
By Frederick James Smith
I
A WEEKLY magazine re-
cently conducted a contest
in conjunction with the
Famous Players, offering a prize
of $50,000 for the best story
adaptable to motion pictures.
The fifty thousand smackers
were awarded to Fannie Hurst
for a story called "Mannequin."
The story, in brief, is the old
hokum of the baby stolen from
her crib and later reunited to her
real parents. Even the old situa-
tion, of the girl being tried in a
court, of which her own real
father is the judge, is trotted out
for inspection.
That Winning Story
f this ancient dramatic wheeze
was the best story turned in by
the magazine contestants, then
motion picture companies prob-
ably are right in refusing to read
unsolicited scripts. Miss Hurst
must have chortled in her Paquin
sleeve upon receiving the $50,000 for this venerable junk.
"Mannequin" was a darn sight better produced than it
deserved to be. Doubtless, the eminent Famous Players
realized the weakness of their prize and decided to dress
it up as best they could. Director James Cruze gives the
creaky tale a whole lot of human atmosphere. And he
gets superb assistance from Dolores Costello as the girl
and Alice Joyce as the mother of the kidnaped kiddie.
I am not going to go further in exposing the bones
of this ancient plot for your ribald laughter. I will
explain that the stolen child is raised in the tenements,
becomes a clothes model and is unjustly accused
of murder, everything being explained by a
deathbed confession. Personally, I think
Miss Hurst ought to donate at least a
James Kirkwood and Carol
Dempster in "That Royle Girl"
<
Ball
Frederick James Smith
part of her $50,000 to the great-
great-great-grandchildren of the
original author of this plot, pro-
vided he can be traced.
As I have intimated, Miss Cos-
tello gives a striking performance
of the girl, Joan. This Miss Cos-
tello is going to be a big star of
the screen, or I shall miss my
guess. She looks a bit like Elsie
Ferguson when she first dawned
upon the theatrical horizon and
she possesses a singular sympa-
thetic charm. With any sort of
break, Miss Costello is going to
do big things.
Miss Joyce gives one of those
understanding performances au-
diences have come to expect of
her. And Director Cruze has in-
jected a human note here and
there. For all its antique machin-
ery, "Mannequin" will touch you
now and then, thanks to Miss
Costello and Miss Joyce.
Watch Miss Costello!
A New Dorothy Gish
T viewed "Nell Gwyn," an English product, at a special
showing. It may not reach the general public of
America, which will be regrettable, since it reveals a
Dorothy Gish you have never suspected heretofore.
"Nell Gwyn" tells, in leisurely English film fashion,
the story of the orange girl who became an actress and
who won a portion of the flitting affections of the gay
Charles II. It is practically a film monolog, barely
sketching the gay court of those dissolute roistering days.
"Nell Gwyn" is singularly lacking in drama, altho
the period was vibrant with color, as any
reader of Samuel Pepys' diary will testify.
I suppose the producer-director,
Esther Ralston and Laurence
Grey in "The American Venus"
The New Photoplays
in Review
Herbert Wilcox, would explain that he did
wish to distort histoi \ with the inj<
turn of romance 01 dramatic climax. But
^t<«r\ has plent) of distortion, as, for
ance, the metamorphosis of the Duke <>t
York into .1 doui faced Puritan. \nd there
i uracies galore
I have said that "Nell Gwyn" reveals a
new Dorothy Gish. 1 use the word liter-
ally. Nell's attire leaves little to the
imagination. However, Miss Gish stands
the revelation admirably. Hei playing lias
to, buoyancy and humor. The roister-
-pirit of the real Nell, as she must have
existed in those rough and merry days,
i>n't there. But the characterization has
more breadth and verve than anything Miss
Gish has given the screen. If her work
is repetitious, it is because the direction is
decidedly amateurish. The work of Randle
rton as Charles 11 is good, but, outside
of Miss dish, the real honors go to Roy
t Iverbaugh, an American cameraman, for
his photography.
Those Dempster Limbs
HAVE noted Miss- Gish's revelations.
Then there are those of Carol Dempster
in "That Royle Girl" to be considered. If
I may say so, Miss Dempster's legs are the
real features of this decidedly mediocre
effort by D. W. Griffith.
"That Royle Ciirl" is adapted from a
magazine serial by Edwin Balmer. It con-
cerns the tribulations of a cutie whose
father is a lazy student of prohibition and
whose sweetheart is unjustly accused of
murder. It moves thru the underworld of
Chicago and terminates with a cyclone
somewhere in the outskirts of that metropolis. The
cyclone is mildly interesting, wrecking the roadhouse
where Daisy Royle is held prisoner. There is a certain
unsavory element running thru "That Royle Girl," prin-
cipally centering about the chief villain who carries a
little whip and is palpably a subject for Dr. Krafft-
Ebing. Miss Dempster's histrionic contribution to "That
Royle Girl" isn't much, altho that is the fault of a rush-
ing and false melodramatic story, but she does lead
piquant support to the tottering tale. No one can ever
say that this Griffith picture hasn't a leg to stand on.
V\ . C. Fields is in the story, playing the father, but he is
only allowed to catch the camera once or twice. Even
in those flashes, he reveals his fine comic spirit. Fields is
going to be as great as Chaplin in three years. Wait
and see.
To continue the revelations of the month, let me next
consider "The American Venus," an original story built
around the late lamented national bathing-girl contest at
Atlantic City. I resent "The American Venus" because
it is essentially cheap and tawdry, being built obviously
upon the idea, already a success at Atlantic City, of
exploiting gals in brief bathing attire. Like everyone
else, I like pulchritude, but I hate to see it retailed in
circus and Chautauqua fashion.
Dorothy Gish in'"Ncll Gwyn"
C K O. Hoppc
The plot of "The American Venus" almost makes
"Mannequin" look like a literary masterpiece. This
tremendous mental effort of Mr. Townsend Martin dis-
closes how the daughter of the owner of a small town
beauty-cream factory enters the beauty contest. The pro-
prietor of a rival cream works holds a mortgage on the
plant and is going to foreclose unless the gal will marry
his son. Honest, that is the story.
Another Literary Gem
Vol' will have to go to see "The American Venus" if
you wish to know the denouement. I left, but not un-
til the camera had proved to my satisfaction that Esther
Ralston, in a one-piece suit, completely eclipses Fay
Lanphere, the real winner of the 1925 contest, who also
appears in this big literary gem. Ford Sterling was
showing signs of stealing the picture when I left the
theater. The much-exploited Broadway chorus beauty,
Louise Brooks, is in the piece. She has a provocative
face, but she hasn't learned yet how to make her knees
behave.
"Womanhandled," Richard Dix's newest starring
effort, amused me a lot. A great deal of the credit for
the diverting qualities of this comedy goes to one
{Continued on page 89)
51
Ewald Dupont, the director, and Emil Jannings between
scenes of "Vaudeville," which features Mr. Jannings
CERTAINLY Ewald Andre Dupont can be called
one of th'e most interesting personalities in motion
pictures. In Germany he is the most popular of
all film directors and in Berlin they are predicting that it
wont be long until his name will be just as popular in the
United States. He has had a contract with Universal for
many months and he is now in California about to start
his first American picture.
Dupont was born in 1891. He comes from one of
those old Huguenot families which emigrated from France
in the eighteenth century and became the special pets of
Frederic the Great, who strongly favored their immigra-
tion into Prussia. The Duponts, during two centuries,
have yielded quite a number of strong personalities in all
walks of life. Since the second half of the last century
they have gone in mostly for newspaper work and
many of them have played important parts in German
journalism.
Born Into Journalism
UPONt's father was editor-in-chief of the then most
popular Berlin daily. He died, however, when young
Andre, or Ewald as he is generally called by his friends,
D
Presenting
DUPONT
of Berlin
was barely six years of age. And. strange to say,
the fact of his being the famous journalist's son
did more to impede than to help the boy's own
rnalistic career. In the big publishing house, where
ago his father had played such an important part,
it was not at all easy for that young and highly ambitious
journalist to be recognized on his own merits. He had
literally to force himself on these people by writing under
an assumed name before they at last accepted "Old
Dupont's son" as an editor who had won his way thru
sheer efficiency.
Very soon (this was about fifteen years ago, at the
time when film production was at its very infancy in
Germany) the young editor began to revolutionize his
columns by starting a thing unheard of at that time. He
began to take the movie seriously. He was the first man
who ever wrote a film review in Germany.
First German Film Critic
A NY amount of ridicule was showered upon the young
editor for giving serious thought and valuable space
to so silly and unimportant a thing. But Dupont was not
to be discouraged. Once he had recognized the impor-
tance of the new silent art, he considered it his duty to do
all he could towards improving it.
Much as the trade and the film producers were
delighted to see their work taken seriously in an impor-
tant newspaper and by a recognized journalist, they very
soon began to be rather scared by that young man's
frankly outspoken criticism.
It was mostly the story and still more the continuity
of those pioneer films which elicited those severe and
highly dreaded criticisms from the young reviewer. And
it certainly was not a bad idea when one of the producers
approached the young editor with the request that he try
to write a continuity himself instead of condemning every
story he saw on the screen.
Writes His First Script
P\upont jumped at this opportunity. Within the next
year or so he wrote more than thirty scenarios. For
the first one he received a salary of $10. Very soon,
however, he was considered by the steadily growing
trade to be a crack scenario writer or, as a matter of fact,
almost the only one of his time and he was paid the then
enormous weekly salary of $250 for continuity. Indeed,
this was a great deal, considering the fact that at that time
the cost of production hardly ever reached the $2,000
mark. The leading stars, mostly famous Berlin stage
actors, were quite contented with
a salary of $25 a day, plus
Ewald Dupont direct- second-class railway expenses in
ing nigln stuff on the case of exteriors.
Ufa • • • o jt was not jong before ]3Upont;
52
Another German
Directory Graduate
Journalist, Comes to
America
By HEINKICH FRAENKEL
of Berlin
who was just twenty two at that tunc
in for the production of a film
and not merely continuity writing.
He was successful from the verj
start. .Altho he lias already produced
than thirty films, there has
hardly been one failure among them.
Most of them have been artistic suc-
cesses and have scored high in box-
receipts in Germany and other
European countries.
A Successful Director
[ shall not mention the titles of all
* those pictures, but it is interesting
that in one of them the producer in-
tentionally did not use a single star.
preferring to take into the cast only
"quite new faces." In this he was
successful and he has always laid
special stress on giving a chance to
young artists.
Dupont has long been keenly in-
ed in vaudeville business. He
even went to the extent of running a
big vaudeville organization some two
years ago. There isn't anything worth
knowing about the business that he
doesn't know. Surely this intimate
knowledge was useful to him last
year when he directed the biggest ami
most ambitious of his productions, the one which Berlin
believes will make him popular in America as well. This
was "Vaudeville," featuring Emil Jannings. His Univer-
sal contract was made, however, before this picture wa-
ff a
Ewald Andre Dupont
comes of a long line
of journalists and he
was himself a promin-
ent Berlin editor before
he became interested
in the screen
released, which implies that it
was offered on the strength of
former merit.
It is not necessary to mention
here any details
about "Vaudeville,"
featuring Jannings
and Lya de Putti, since the picture will be
released soon in America.
Quiet Home Life
C wald Dupont's private life is and always ha.s
been a rather quiet one. He is a married
man and he likes his home in town as well as in
the pretty little bungalow he owns near one of
the beautiful Bavarian lakes. Here he retreats
for a quiet spell of recreation whenever he finds
a short time from his work. He likes gardening
and he is also quite a keen motorist.
He told me. before
leaving Berlin, that he
was looking forward
to his Amercian trip
and all the possibili-
ties for work which
seem to be in store
for him there.
Shooting a scene of
"Vaudeville." The
rotund man at the
camera is Karl
Freund, who became
famous in America
for his photography
of "The Last Laugh"
Ufa
53
Random Impressions
[Eugene V. Brexvster, the editor-in-chief of the
Brewster Publications, has been visiting the Coast studios.
You will be interested in reading his impressions of the
Western capital of Celluloidia.]
N front of the Fox studio in Hollywood is a small
grass plot on which is a little black and gold sign
reading thus :
I
I AM GRASS,
NOT gas;
DONT STEP ON ME
pvo you remember Virginia Pearson of the dim and dis-
tant past? That vivid, beautiful brunette who was
right up among the leaders a dozen years ago? Well, at
a Preview of Commodore Blackton's latest picture the
other night, there was a very striking blonde, young and
beautiful, the observed of all observers, and her hair was
a shimmering gold. It was the same Virginia Pearson.
And her husband. Sheldon Lewis, sat by her side, look-
ing much too old for her.
ver at Fox's studio they think they have the coming
greatest star of all. I had a good look at her and
she looks the part. It is Olive Borden.
O
YK7 ho do you think . is Hollywood's greatest pianist ?
" V No, it is not Eleanor Boardman, altho she seems
artistic and looks very much like a musical artiste of
some kind. It isn't a woman, anyway — it's a man. No,
not Ramon Novarro, altho he plays the piano very well
indeed and sings excellently. Yes, and he looks the part,
too. Nor is it the suave, polished Valentino, nor yet
Ronald Colman, who might well be a musician. No, you
are not even warm.
Well, I'll let you in on it. Remember "Tol 'able David"?
Remember that terrible, gigantic tramp who oozed villainy
and wickedness from every pore? And that big, ugly,
raw-boned chap who nearly ran away with "The Covered
Wagon"? And that
monstrosity who ran a
blacksmith shop with
one hand while holding
a Bible in the other in
"The Pony Express"?
Yes, that's the chap —
Ernest Torrence ! But
who would think it?
And he carries a big
gold medal as the star
opera-singer of the
Royal Academy of Mu-
sic in London, too !
The finest speaking voice I ever heard issue from a
human throat came out of the face of Noah Beery the
other day while I was dining with him at the Montmartre.
It is rich, deep, resonant, clear and what I would call
perfect. He says he can sing several notes below lower
C, and I doubt not. And yet the poor man cannot (or
will not) make a public speech. What a pity! Charles
Murray and he should do some swapping.
And speaking of anom-
alies, of queer
freaks of unnatural
selection, who do you
think is the star master
of ceremonies, toast-
master, etc., on the
Coast? You will at once
think of all the hand-
some, dignified, cul-
tured, polished, suave,
smooth-voiced men you
have heard of, but you'll
never guess, because he
is the lowest of low
comedians, always play-
ing absurd comedy parts,
and you picture him as
a comical Irish hod-
carrier. Yes, it's
Charles Murray, and
he always makes a
hit.
Vou may not believe it, but Hollywood goes to sleep
about 9 P. M. It is really a quiet town. During
the day it is all bustle and hustle like any other big city.
The film folks work
hard all day and they
take it easy all night.
They have to.
LIandsome Jack Gil-
bert looked anything
but handsome fixed up as
a burlesque Red Grange
at Marion Davies*
costume ball. And he
didn't try to look pretty,
and he wasn't, and I
told him so, and he
liked it and I liked it.
Pharlie Chaplin
certainly enjoyed
taking off Napoleon at
the ball, and he looked
the part amazingly. I
told him if he could find
some humorous inci-
dents in Napoleon's life
and play the part
straight, in a feature
high-class comedy, it
would be a knock-out.
And it would.
Our idea of a charming lad, otherwise Marion Davies
masquerading in "Beverly of Graustark"
Vou can ride around
Hollywood for hours
and never know but
what you are in Phila-
delphia, or Atlanta, or
Chicago. You might
come across some
54
of Hollywood
By
Eugene V Brewster
players and a studio 01 two, and you might not.
I u m ki d m on .1 sel .u First National and saw Norma
' falmadge in a suit of men's striped pajamas doing
"Kiki." The previous night I had seen a Vitagraph
revival which Commodore Blackton put mi at "The
Writer-.," ir which Norma* appeared in a 1912 picture,
and I swear that Norma looked far younger in 1926 than
she did in 1912.
b) the way, she is one of thi I and most charming
little ladies I ever met. Everybody loves her. She
everybody .Yes, her eyes are not quite the tame color,
but almost. She laughingly let me look into than and I
still live!
at the Lasky studio 1 saw them making a miniature
elevated railroad structure with real cars and engines.
It was about one hundred feet long and the cars each
about a foot long. The whole thing was complete and
perfect in every little detail and many men will work
many days to complete this railroad. When you see it
on the screen, you will feel sure that it is the real thing.
rearing up .some twenty feet in the air with full-size cars
and everything. And this scene, costing thousands of
dollars, will be on the screen perhaps less than one
minute.
I k.\.\ into Maurice Costello on Hollywood Boulevard
and had a chat with him. No, he is not directing his
daughter Dolores as reported, and doesn't intend to lit-
is, of course, proud of her and everybody else seems to
be. Maurice is free lancing. Not working just now hut
hopeful. And this is the first great screen idol the world
ever saw !
0
N almost the same spot an hour later I met my old
friend, F.dgar Norton, who made a hit in "The King
on Main Street." He was once stage manager, for the
great Richard Mansfield, and is now the champion butler
of the screen and a mighty good all-around character
man.
Y\J \rnkk Brothers have the handsomest studio -from
"V the outside and First National has the handsomest in-
side. The Fifth Avenue of First National (exclusive
section i is about two
hundred feet long and
contains three bunga-
Norma T a 1 -
madge's, Colleen
Moore's and Valentino's.
Warner's studio looks
like one of those stately
rnment buildings in
Washington with a
dozen big pillars run-
ning all the way up in
front. Colonial style, and
very picturesque.
LIOLLYWOOD is surrounded
tains, and your chauffeur
Pick ford's house up there,"
IflNG YiDOR. who did
1X "The Big Parade"
and who is therefore one
of the world's greatest
directors even if he did
nothing else, looks to me
like a big, overgrown
boy, simple and unaf-
fected. Seems to me
nearly all the great direc-
tors are young fellows
now.
Qolleen Moore is
very pleased with
her little studio bunga-
low and garden, and
well she might be. She
proudly showed me
thru, and pointed out
every item of interest,
including her stove and
cooking utensils. And,
with hills or young moun-
keeps saying: "That's Mary
"That's Tom Mix's,
over there is where Fitz-
maurice is going to
build." etc. Every hill
is represented by one or
more players and their
places all look like
money. All the hills are
not yet working, but
from the looks of things
they soon will be.
They are building roads
and things everywhere.
Talk about Florida,
everybody here is land
crazy. Everybody is
making money buying
and selling lots. Prices
are already tremendous-
ly high and they are go-
ing up every ddy. The
players are all dipping
in, too, and Rockefeller
and Ford will soon be
poor men in compari-
son.
[F you want to be very
smart and proper, call
a studio a "lot." That's
the correct word, "On
the lot" — "He's not on
the lot," etc.
W. F. Seely
A brand-new study of the Lloyd heir apparent, Mildred
Gloria Lloyd
Mearlv all the studios
are on one street —
Sunset Boulevard — and
here you see all kinds of
(Continued on page 72)
55
That Chaplin Complex
By Harriette Underhill
DON QUIXOTE without a windmill; a mute dilet-
tante ; a faun or a sprite ; a will o' the wisp ; just
a fantastic cuss ; a marionette with Charlie Chap-
lin on the other end of the wires ; a grown-up Peter Pan;
a phantom ; a wraith with
a sense of humor ; a
nomad ; Charlie Chaplin,
himself, but a Charlie
Chaplin known only to
himself.
These are some of the
answers we have received
' to the question we have
been putting to our friends
recently. For we have been
going about like the in-
quiring reporter; and these
answers we have had to dig
up from divers places, for we had them jotted clown on
the backs of envelopes, on calling cards, margins of news-
papers and on theater tickets.
One of the most popular fallacies in the world is the
belief, culled from the movies, no doubt, that newspaper
reporters carry notebooks. They dont. We kept one
once when we were young, but what good was it ? None.
For in consulting it, how could anyone guess that
T.S.O.M.D. might mean, "Tell story on Marion Davies,"
or that T.C. rec. P.N. could possibly mean, "Traffic cop
recognized Pola Negri" ? Along with the answers
to our question was a scrap of paper with these
letters scribbled on it : "Get C. St. R. by the 5."
and we had sense enough to know that that
meant "Get the Classic story ready by the fifth."
So here it is.
The question we have been eagerly asking each
one we meet is, "What is your idea of
the funny little man which Charlie Chap-
lin has put on the screen? Is he a char-
acter study? Is he the same character
in each picture? Is he a real person or
a figment of the brain?"
And the answers are all here at the
start of this article.
We think the man who said, "It is
Chaplin, himself," comes nearest to the
truth. For, when finally we put the ques-
tion to Mr. Chaplin, he replied without
hesitation, "He is an inferiority complex."
And what a simple solution that is ; espe-
cially now, when nearly everybody has at
least one in the family. It seems to be one
of those cases where, after he learns the
answer, anybody will exclaim, "Of course !
I might have known that all the time !"
And it is quite apparent, too, to anyone
who believes in signs, that that inferiority
complex is dwindling with the years. In
Chaplin's earlier pictures the funny little
man on the screen never had any happy
endings to cheer him on his way. And how
well we remember the first time that the
"phantom lover" was permitted to enjoy
requited affection. It was in "The Immi-
grant" that he married Edna Purviance in
the office of the justice of the peace and that was the first
ray of sunshine allowed to creep into his sad life. The
first time one felt that Mr. Chaplin was going to attempt
a "materialization" and allow love to awaken a soul in
the lonely little marionette.
Miss Underhill says the Charlie Chaplin you
and I laugh at is just an inferiority complex.
Chaplin is an egoist, she says, and what he
has put on the screen is the thing he once
feared he was, at least in the eyes of others.
Thus his inferiority complex became a shadow
for the whole world to laugh at.
Recently, Mr. Chaplin was
a guest at a house party
where we were. Some-
one accused him of being
the most famous person in
the whole world, not ex-
cepting the Prince of
Wales, himself. To prove
this, the man who made the
assertion said that when
they were traveling thru
China, one of the coolies
grabbed up a derby lying
on the ground, stuck it on the side of his head, and,
twirling a stick in his hand, gave a Chinese imitation of
the Chaplin walk.
"He laughed that funny head with a pig-tail nearly
off, and seemed to feel that one touch of Chaplin makes
the whole world kin," said the narrator.
"Well," replied Mr. Chaplin, "it is something, isn't it,
to unearth a Chinese sense of humor!"
While Mr. Chaplin is a very friendly person, he is.
withal, so modest that it is difficult to tell him that he is
the most famous man in the world. He doesn't
give the usual polite protest, which means, "Let
any man deny it if he dares !" He just blushes
and begins to talk about something else.
During supper we sat next to Mr. Chaplin,
and it was then we determined to ask him about
his elusive character that is known all over
the world, yet with whom none is
acquainted.
"You give us no clew," we said.
"Because your 'Wanderer,' your
'Prospector,' your 'Immigrant,' never
yet has spoken a word on the screen.
If only you would let him say, 'When
I was in Engknd last year,' or
'Mother is waiting for me.' T was
sensitive about these big feet when I
was a kid in school,' you would give
one something to work on. But was
he ever in England, this nomad of yours?
Was he born here, one hundred per cent.
American? Has he a mother? Does he
worry because his feet are large? Did
he ever go to school ?"
Mr. Chaplin shook his head, and then it
was that he said : "He is just an inferiority
complex." He did not add, "my own,"
but what he told us later made us realize
that that was what he meant.
"I became terribly unhappy," he said,
"when first I began to be well known on
the screen ; and I shall tell you why. It
was because people insisted on lionizing
me. I was invited out everywhere, and if
I accepted, as I often had to do, I would
CHARLIE CHAPLIN
(Continued on page 90)
56
EVOLUTION
of a LAUGH
67
No, Elinor Fair isn't just a willing target. This is
Cecil De Mille explaining a scene of "The Volga
Boatman" to William Boyd
Renee Adoree has just been given a shining new
contract by Metro-Goldwyn. Louis B. Mayer is
congratulating her
Letters to King Dodo
HOLLYWOOD.
Dear Majesty:
I should advise against Your Majesty coming to
Hollywood at this time. Hollywood is not yet ready to em-
brace Your Majesty's daring design of making motion
pictures that would show human beings acting as human
beings act in real life. Hollywood would give Your
Majesty the loud guffaw if you proposed such a radical
departure from the accepted tradition of the cinema in the
place of its birth.
There are hopeful signs, however, which indicate that
at some future time Your Majesty's ideas may be put
into practice. Louis H. Tolhurst has been making pic-
tures showing the lives of insects. It is possible that
somebody may take a chance and show the lives of men
and women just for the novelty of it.
But I am not so optimistic about the future of the
films as Laurence Stallings, who has not lived in Holly-
wood so long as I have. Stallings thinks they have a
brilliant future — ah, where have I heard that phrase
before?
Meanwhile, in accord with the expressed desire of
Your Majesty, I shall keep you informed of what is hap-
pening in Hollywood from clay to day, so that Your
Majesty may judge for yourself the trend of celluloid
culture.
New York.
Dear King :
Richard Barthelmess, who has been ill in a New York
hospital with ear trouble, as Your Majesty has probably
heard, has departed for California to make one picture
in Hollywood. This will be Richard Harding Davis'
"Ransom's Folly," which you may remember as a story
of an army post in the old days when an army review
looked like a parade of the Smith Brothers. Not that
Dick is going to wear whiskers in this piece. No, no !
All sorts of rumors are current regarding Dick's next
58
stellar plans. His present contract with Inspiration Pic-
tures expires in September. Dick has been doing con-
sistently good work and his next contract will carry a
whole lot more of mazuma for the young star.
Hollywood.
Dear Majesty:
Since I last wrote, Hollywood has been elevated by the
presence of young Anthony Asquith, son of Lord
Asquith, former Premier of Great Britain and Earl of
Oxford and Asquith. I think Your Majesty will recall
the father from certain negotiations relative to oil con-
cessions in Your Majesty's beautiful Island of Oz, which
were abruptly terminated by Your Majesty when a radio
set and two strings of glass beads were not forthcoming
as promised.
Your Majesty may also recall the mother, Margot,
whose memoirs caused many a monocle to drop from
many an eye and many a teacup to fall from many a knee
when they burst upon poor old Mayfair.
However that may be, young Asquith is the latest lion
to be captured in our jungles and he roars complacently
from his suite at Pickfair, the Beverly Hills estate of
Mary and Douglas. His sister, the wife of the Rouma-
nian Ambassador, the Prince Something-or-Other, is
also a guest at Pickfair. Anthony is here to learn the
moving picture business. He hopes to become a director.
He is a very intelligent and studious lad, homely even
for an Englishman, with a pair of trousers quite like
Charlie Chaplin's and his collar much too big for his
neck. He has delicate and aristocratic hands.
Hollywood.
Dear Majesty :
The Laurence Stallings whom I mentioned in a previ-
ous letter is back in Hollywood, lending the luster of his
name to the script for Paramount's production of "Old
Ironsides."
While abroad Rudolph Valentino visited the
UFA Studio. Left to right, Valentino,
Director F. W. Murnau and Manuel Reachi
John Drinkwater, who wrote the drama, "Abraham
Lincoln," drops in to call upon Phil Rosen, who filmed
"Abraham Lincoln." Carmel Myers at the right
By Don Ryan and Frederick James Smith
Your Majesty will recall Stalling* as the one-legged
ier who co-authored in "What Price Glory?" the real-
war comedy that pleased you when Your Majesty
on a tear last winter in New York. He also did
"The Big Parade" for Metro-Goldwyn-Mayer.
Stallings' name will go on "Old Ironsides" as the
author, altho the real author is our mutual friend. Harry
Carr. who conceived and hatched this astonishing movie.
Harry put over the greatest tie-up in celluloid history
when he got Secretary of the Navy Wilhur to back the
production with the co-operation of the United States
N'avy. The frigate Constitution, now at dock in
Boston Harbor, will be the principal prop used in recon-
structing a chapter from our naval history dealing with
the war with the Tripolitan pirates. .
The Government is raising funds to restore the old
-el ; hence the tie-up. All the kiddies who give pennies
will go to see the picture. This is what Will Hays might
call super-salesmanship.
Jesse L. Lasky thinks it safe to spend unlimited mil-
lions on making "Old Ironsides." It will take about a
year to do the thing right, that is, to out-Benjamin Ben-
Hur. Already a fleet of eighteen sailing ships has been
built and some two thousand extras are assured of cakes
for some months to come.
Jimmie Cruze, who is directing this spectacle, spent
many weary weeks in toilsome research work among the
bazaars of Tripoli, along the Riviera, at the Folies
Bergeres, the Casino, the Crystal Palace and other dull
and out-of-the-way places, just to make the picture
authentic.
New York.
Your Majesty :
It you follow the public prints, your royal highness has
doubtlessly noticed that Adolphe ' Menjou has filed suit
for divorce from his wife, Katherine Menjou. Menjou
charges cruelty.
It takes a brave man to chance public disfavor like this
and I hope Your Majesty will reward Menjou with a
special proclamation of your appreciation. Menjou al-
leges that his wife scolded and found fault with him. call-
ing him "good-for-nothing, pufTed-up and conceited."
and charged his mother with being a prevaricator.
Thus does the famous screen - under stander - of -
women get his troubles off his chest. .I'm with him heart
and soul and I trust Your Majesty will back me up. We
men must stand together.
Hollywood.
Dear Majesty :
I should like to call Your Majesty's attention to the
career of Roy D'Arcy, because it offers the finest ex-
ample I could cite of the way to get ahead in pictures.
This competent actor had knocked about for many
years in Shubert musical shows, working under his real
name, which was Roy Guisti. When he was working in
Los Angeles he was seen by Eric von Stroheim, who, out
of a clear sky, presented him with the part of the Crown
Prince in "The Merry Widow."
Roy used to drive up to the Metro-Goldwyn-Mayer
studios in his little Chevrolet coop, accompanied some-
times by Jean, the girl who had liked him for himself —
before he got a big part in pictures. Towards the end
of his first engagement Roy began to appear in a huge,
roaring touring-car with the top down and smartly en-
closed in a patent-leather boot. He had been .signed for
a five-year contract.
Recently the studio was visited by Mrs. Laura Rhinock
Duffy, widow, the daughter of old J. L. Rhinock, vice-
president of the Metro-Goldwyn-Mayer outfit, and.
oddly enough, president and treasurer of the Shubert or-
ganization. The widow had seen a photograph of Roy
as the Crown Prince. When she saw him in real life,
wearing the cute little whisker cultivated for the heavy
role in "Graustark," the daughter of the vice-president
and treasurer gave her heart to the actor.
They are married. Roy D'Arcy — the other name was
considered too tough for the fans — smiles to himself
when he remembers how he used to caper and envort on
tired dogs because he had to please Jake Shubert. From
a performer in musical road shows he has jumped into
59
CLASSIC
The real barber-shop chord. Director Mai St. Claire, Louise
Brooks (getting the bob) and Adolphe Menjou at the Famous
studio. Next!
Colleen Moore gets telegrams from all parts
of the world on her birthday. What one?
Now that would be telling
the same as part ownership of the Metro-Goldwyn-
Mayer interests. As for Jean, by-gones are by-gooes.
She merely liked him for himself — before he got a big
part in pictures.
Hollywood.
Dear Majesty :
At this time of writing the pictures are really moving.
The Paramount Studios are being transferred to the lot
formerly occupied by the United Studios. The property
of Paramount* occupying two blocks at Sunset Boulevard
and Vine Street, became too valuable for studio purposes
and will be subdivided into business lots.
Among both classes of the population — I mean movie
actors and realtors — there is considerable speculation
about what Joe Schenck will do. Schenck, who formerly
functioned extensively at the United Studios, is ensconc-
ing himself temporarily at the Pickford-Fairbanks
Studio. But those who speculate in futures say he will
build.
Schenck has just effected a combination with Sam
Goldwyn to produce "The Garden -of Allah" on large
scale, using Norma Talmadge as the vamp and Ronald
Colman as' the priest. Henry King, who made "Stella
Dallas," will direct.
Norma has finished "Kiki," in which she played the
part of a French gamine. The script called for one
sequence in which she works as a chorus girl.
New York.
Sire :
Movie ranks have been a bit upset recently at what it
called the entrance of nudity into pictures. Famous
Players tried some undress in "The American Venus"
and Universal has gone a step or two further with "The
Midnight Sun." Critics have wondered why your prime
minister, Will Hays, permits this and then draws the line
at the production of a seriously written drama such as
"Rain," f instance
Meanwhile, the speaking stage goes 'right along its
lurid way. David Belasco has just revealed Leonore Ulric
in a drama of the New York negro cabarets. Indeed,
Leonore plays a "high yaller" who dances her way from
the Harlem gutters into the home of a French nobleman.
The dialog, too, is what even you would call profane.
Dont think I am advocating this sort of thing for the
screen. I'm just mentioning it to show the broader scope
of the speaking stage.
Hollywood.
Dear Majesty :
Your Majesty has graciously requested me to give you
some idea of the sports and pastimes of movie actors in
Hollywood. The movie actor always endeavors to live
what we call "La Vie d'Hollywood," no matter where
he happens to be, for he realizes instinctively that if he
once permits himself to get out of this atmosphere he
may be compelled to think.
William Powell, who has just come in from location on
the Painted Desert, told me about a New Year's celebra-
tion he attended while working with the Paramount
company engaged in embalming Zane Grey's "Desert
Gold" in celluloid.
Bill said he had been impressed. Nature in the
Painted Desert is rather splendid. The sets she has
reared of twisted rocks and the mighty back-drop of
desert sky which she has hung there are rather awe-
inspiring. They made a man feel very small, Bill said,
and as if he would like to be alone with himself for
a while.
But on New Year's Eve there was a pleasant surprise
for the company arranged by Eddie Brandstetter, the
caterer for this trip. Eddie had been busy all day in
the closed dining tent. When evening came he flung it
open and invited them inside.
The tent had been decorated just like the Montmartre,
Eddie's celebrated boulevard cafe. There were paper
caps for everybody, tin horns to blow, turkey to eat,
things to throw at each other — everything to make them
think they were back in dear old Hollywood. And at the
conclusion of the riotous evening, Bill said, they all went
out and sang and the cowboys discharged their six-guns
at the silent desert sky.
Yes, they beat the desert. Bill said. They made them-
selves forget they weren't in Hollywood. But, for some
reason or other Bill said he wished he could have been
alone that night, under the blazing stars that made the*
sand strangely white, listening to the coyotes howling in
the distance, imbibing something that is not for sale in
Hollywood.
60
CI. A
Mr. and Mrs. Douglas MacLean return to
Hollywood after a trip East via the Panama
Canal and Cuba
Florence Reed drops in between scenes of "The Light
Eternal" and is received by Director Benjamin Christian-
son, Norma Shearer and Carmel Myers
New York.
Your Majesty :
There arc all sorts of denials, but I feel that your royal
hig! ' ild know of the reported tribulations in the
Jack Pickford-Marilyn Miller marriage. The domestic
bonds in this instance are likely to be severed when Miss
Miller goes abroad next summer, if reports are to be
believed.
Do you know who has been taking Miss Miller to social
events about New York? No other than your loyal sub-
Ben Lyon. Xot so long ago Ben was squiring
Barbara La Marr. How time flies.
Hollywood.
Dear Majesty :
The craze for things Russian, which has passed over
London, Paris, and Your Majesty's own capital of Oz,
has just hit Hollywood. Cecil De Mille, who successfully
transferred the Ten Commandments to the screen, has
just performed the same office for Chaliapin's song about
the Volga Boatman. Not to be outdone, William Fox
sicked \ ictor Schertzinger on to a Russian revival of
'Siberia," the old melodrama that Your Majesty no doubt
witnessed as a child when it was being performed by
touring repertoire companies.
The making of these pictures revealed the fact that
there are hundreds of Russian exiles in Hollywood, rang-
ing from dukes, thru exiled bureaucrats and intelligentsia,
i to droshky drivers — tho I have never met one who
admitted to the latter occupation.
Pola Negri, who cherishes a warm feeling for the icy
steppes, assembled all of the Slavs in Hollywood for a
Russian musicale. Chaliapin who was appearing at the
Philharmonic, was a guest. The great basso sat at the
piano for two hours playing and singing Slavic airs, the
longest time on record for him.
The Negri mansion in Beverly Hills was the scene of
this affair, at which Pola incidentally displayed the wealth
that accrues so easily in this land of great opportunity to
progressive actresses. The house is colonial, the appoint-
ments French and Spanish, the gardens Japanese. Amid
this potpourri of luxury the hungry exiles consumed thou-
sands of cakes and unlimited gallons of tea.
Hollywood.
Dear Majesty :
I have neglected previously to tell you about the annual
Wampas Frolic and Ball which was held this year in the
ultra-smart atmosphere of the new Shriners' Auditorium.
The new auditorium is much nicer than the Odd Fel-
lows' Hall. And Sid Grauman, a notorious showman, put
on a series of acts that were almost worth the five dollars
Your Majesty would have had to expend to gain a seat.
Many of the acts presented actual scenes or prolog
effects based on feature pictures of the various studios.
De Mille's act was a rendition of the "Volga Boatman"
by a large chorus ; Universal gave "Custer's Last Stand"
from "The Flaming Frontier," and so on.
The movie stars were presented in a manner that only
Sid Grauman could conceive. The stage represented the
court of Grauman's Egyptian Theater. The stars drove
on in their private purple limousines, just as they do at
an opening.
There were a great many sarcastic snickers among us
wiseacres when the thirteen Baby Stars of 1926 were
introduced. These infant prodigies, discovered by the
astute press-agents who compose the Wampas. turned
out to be for the most part already well known in pic-
tures. At least half of them had been billed as stars
already by some of the studios where they were working.
To predict that these talented young women will be-
come stars during 1926 is like betting that Cal Coolidge
will continue to steer the ship of state, that Wayne B.
\\ heeler will denounce the demon rum, or that Gilda Gray
will perform a dance called the shimmy during the same
period of time. The truth is that the press-agents were
unable to agree in the annual log-rolling contest that pre-
ceded the ball and had to compromise on these candidates
already practically elected to stardom.
Next month I shall write Your Majesty more fully
concerning the affairs of Hollywood. Meanwhile I re-
main Your Majesty's humble and obedient secret agent in
this curious country
"Where cowboys are made
But actors are few."
(Continued on page 74)
61
HIGH
HAT
Now that the surface of the in-
dustry really has been scratched,
the silk topper is coming to be
quite the thing. All the stars are
wearing 'em.
Not that the films are becoming
•Ritzy. They are heading toward
the smart, the ultra and all that sort
of thing referred to so glibly by our
noble opponent, Vanity Fair.
Alas, gone is the good old
custard-pie era when mortar was
mortar and tomatoes were tomatoes.
62
1
The Answer
Man
Mildred N. — Greetings ! Did the
March winds blow you in? So
ou think John Gilbert was won-
lcrt'ul in "The Merry Widow."
••cry body thought so. He
a.i* born in Logan. Utah, but so
tar as I know he has had only one
rife, Leatrice Joy, from whom he
> divorced.
Bobbie. — Yes, it was woman who
irst tempted man to cat. but he
look to drink on his own account
itterwards. William Haines was
fd Kelly in "Little Annie Rooney."
f'ola Negri is playing .n "Because
1 Love You," which Dimitri Buchowetzki is directing. A rather
titting title tor Madame Pola.
Marjorie S. — Bull Montana is now an American citizen but
*as once an Italian, because he was born in Voghera, Italy, ten
:ter our Fourth of July, thirty-seven years ago. You
ret'er to Youcca Troubetzkoy.
Me. — Oh, is that you? You know the Venus of Milo derives
ts name from the island of Milo where it was discovered by a
in 1820. who was trying to uproot a pistachio-tree. Mary
Brian is eighteen years old. Irene Rich has two children, Jane
<nd Frances, who are now at school in Switzerland.
Alma. — Well, it is supposed to be a secret, but you know noth-
ng travels so fast as a secret. Right now Richard Barthelmess is
-naking a picture in California. It was Douglas Fairbanks who
jave Barbara La Marr her first real part in pictures.
\V. M. J. — I should say I do drink buttermilk. I couldn't
m>wer these questions without it. You refer to Ivor Novello
>j>posite Mae Marsh in "The White Rose." Alfred Lunt opposite
Carol Dempster in "Sally of the Sawdust."
k C. Scott. — I should say I do go out in the fresh air, it
s the king of physicians. Sure I go ice skating — that's how I
retain my equilibrium. Bert Lytell was Baron Madox in "Eve's
!o\er,'- with Clara Bow and Irene Rich. And now Gloria
Swanson and Eugene O'Brien as her leading man are playing in
Fine Manners."
Y Susie. — Never write what you dare not sign. You
refer to Gwen Lee as the stenographer in "His Secretary." Yes,
I thought Norma Shearer was beautiful in that picture.
E. B. C. — So you always plant a tree on Arbor Day. Governor
Morton of Nebraska first created Arbor Day, and the first was
\pril 20. 1872, when twelve million trees were planted. You
refer to Templar Powell in "Monsieur Beaucaire."
The Ol' Lady. — Aral Aral! Your letter sure was all about
villains. You want to know who the fellow with the Persian
lamb fez was in "The Phantom of the Opera." Guess you
refer to Arthur Edmund Carewe. Come on down to Brooklyn.
Larena. Fort Worth. — You want the whole truth about Val-
entino. Well, he and Winifred Hudnut are divorced. Absolutely,
ind finally. Norma Talmadge is thirty-one, Constance is twenty-
sfac and Natalie is twenty-eight. So you think I must be terribly
nice, and young. Ouch — you know I am over eighty years old.
Irene's Fan.— Well, no woman has faith in another, but she
that man shall have faith in her. Viola Dana is playing
in Wild Oats Lane" now, she was born right here' in Brooklyn,
ind her sisters are Edna Flugrath and Shirley Mason.
Ruth A. — Here, write this in your album —
Absence makes the heart grow fonder,
For a day. perhaps a week,
After that we're prone to wonder,
\t our love for the antique.
Hear ye, hear ye! All you (oiks who have questions
to ask, come this way and you shall be heard — and
answered. I have learnt a lot during the last eighty-
two years, and it's all yours (or the asking. Been
answering ??? (or the last fourteen years, and still
going strong. If you want an answer by mail, enclose
a stamped addressed envelope. If you wish the an-
swer to appear here, write at the top of your letter
the name you want printed, and at the bottom your
full name and address, and mail to me. The Answer
Man, care of Classic, 176 DufHeld Street, Brook-
lyn, N. V.
You refer to Eileen Sedgwick in
"The Riddle Rider." Ymi can get
a picture of Richard Barthelnx
Inspiration Pictures, 565 Fifth
Avenue, New York. So you liked
bim in "Shore Leave."
D. M. & M. D.— I agree with you,
a word to the wise is not sufficient ;
take a club. That was Jack Joyce in
"New Lives for Old." No, I draw
the line on the Charleston — you
think St. Vitus must have originated
it. Pauline FYederick is working on
"The Nest" at the Whitman Bennett
Studios, in Brooklyn, New York.
Agatha D. J. — That sure was pretty peach paper you used.
So you think The Classic is a great magazine. So do I— why
dont you tell your friends about it. Sure, that's my salary —
$15.00 a week.
Ruthie. — Perhaps I was too frank. In the language of the
poet, I seen my dooty and I done it. Rod La Rocque is playing
in "Bachelor's Brides" from the stage-play and also in "The
Dancing Man" from the Edna Ferber novel. See you later.
Sighned Shortie. — Well, I never really have taken the time-
to figure out how old Douglas, Sr., was when Douglas, Jr., was
born, but for your benefit, Shortie, Douglas, Jr., is about nineteen
and Douglas, Sr., is forty-three, so that makes Doug, Sr., twenty-
four when he was born. Righto !
Brown Eyes. — Dont be too sure, the well-fed are not always
the well-bred. You want to know who receives the higher
salary — Norma Talmadge or Gloria Swanson. Well. I'm betting
on Norma.
Sweet Sixteen. — Well, I dont want for a dull moment. I'll
tell you that. Only the scissors-grinder invariably finds thing>
dull. You refer to "The New Commandment" with Ben Lyon.
Louise Fazenda made her debut in pictures with the Keystone
Company in 1915.
Helen. — I sure was glad to hear from you. Fire away. So
you would like to see Carol Dempster stop the kiddish pictures
and appear in something that fits her noble personality. I'll
speak to Miss Dempster. D. W. Griffith paid Monte Blue his
first screen salary, which was just $1.50 for the day's work. His
birthday was January 11th. He has made lots of hits, but his
first home run was in the part of Danton in "Orphans of the
Storm."
Leo H. G. — Well, there isn't much history to Clara Bow. except
that she was born in Brooklyn in 1905 and won a contest that
this magazine started, thereby getting into pictures. As I under-
stand it, she is doing very well.
See A. Why. — What do you bet I dont look like the picture
at the top of the page? Well, I should say on the first of the
month there is no female or anything else more deadly than the
mail. Blanche Mehaffey who was formerly in the Follies and
with Mack Sennett has signed a long-term contract with Uni-
versal. See you later.
Clara R. — You refer to Colleen Moore in "Broken Chains"
and not Lillian Gish.
Ronald B. — Hello there, thanks for yours. Mauric- Costello
played in "The Fast Pace." Johnnie Walker isn't playing now.
Run in again some time.
Peaches. — So you would like to have me for a pal. I wont
object — I like peaches. Antonio Moreno is playing in "The
Temptress' directed by Mauritz Stiller.
Billy S. — The only sweeping reform that has succeeded is the
{Continued on page 68)
63
Famous Writers Consider the Films
THOMAS BURKE
(Continued front page 22)
of poverty and squalor was a "Chink."
I expected to meet a great big husky —
thinking probably that only a big rough
man could have weathered the hard life it
had been his fate to live. But Burke is a
little man with a delicate, sensitive face and,
a habit of licking his lips before he speaks,
which is usually after hesitating to think
a moment. There was something about
him that reminded me of Charlie Chaplin.
Burke took me to The Ivy for lunch.
It is a sort of Hotel Algonquin of Soho
— the Great White Way area of London —
where actors, artists and writers congre-
gate and tell each other what they are
going to do "some day."
"I never knew an author who didn't spit
at the films," said Burke quietly.
"But didn't you like the production Grif-
fith gave your 'Broken Blossoms' ?"
"Yes. I think it was extremely good —
but extremely overdone as well."
"Were you allowed to pass any judgment
on it before it came out?"
He suppressed a smile and hesitated,
licking his lips for a moment. "I didn't
know it had been sold until it had been
produced."
"You didn't receive any exorbitant price
then — in five figures?"
Mr. Burke smiled ironically. His silence
was eloquent and I would not be surprised
to learn that he had received almost liter-
ally as well as figuratively — next to noth-
ing. And this for what I consider the
finest picturization on the screen ! But you
see this is ancient history. While they
have just paid $100,000 — and an additional
percentage — for the film rights of "Is Zat
So!"
"I like the German pictures best — or the
Swedish. In them you will always find
skill, background, finesse of story, ma-
turity, mellowness. The American pictures
are all the same. Once they were all In-
dian pictures, then cowboy, then all pictures
either featuring Mary Pickford or a thou-
sand like her trying to imitate her. Now
they are all of a peculiar brand of jazz
life that has no lines of society, breeding,
taste or aristocracy to hold them back. Is
that what you would call jazz?"
"Yes," I told him, "as possibly applied to
the melodies of life."
"I really try to see and enjoy your films
— but I cant, really. They sicken me."
"What about Chaplin?"
"Ah, that is different," he replied more
quickly than usual. "There is only one
Charlie. He is all Art — especially his feet.
When Charlie came over the last time, I
was one of the first persons he came to see.
Strangely, we both worked our way up
from the bottom, climbed out of the hell
of English lower-class life at about the
same time. We came here to The Ivy and
had a bottle of wine together just like you
and I are doing and had a jolly talk over
old times — and new ones."
Kul
RALPH D. BLUMENFELD
Editor of The London Daily Express
duction — action, romance, plenty of inci-
dent, costume and a rapid dash of plot.
One reason for its success as a story of
the films was that it is so foreign to com-
mon experience — which is all there is to
romance in a way, isn't it? People read or
see films to gratify one of two desires usu-
ally; that the story shall be absolutely dif-
ferent from their own personal story — or
just like it! That is the difference between
Romanticism and Realism."
When I asked him if he had collaborated
in any way, he shook his head.
"They just took the book, you might
say without my knowledge — which is all
the more to their credit, if they made a
go of it. I have heard that the more an
author interferes with the production, with
his attempted collaboration, the worse he
makes the resultant screen picture. Why
bother?"
And that phrase, I find, sums up the
diffident English character in relation to
almost everything American — except the
films.
And I wonder sometimes if they could
— or would — produce film pictures of a
higher, better and finer tone than we are
producing. I hope so. But I am of the
opinion that they did not consistently do
so, when they had their fling at it. And
why did their industry collapse before the
assault of our bad pictures?
SIR ANTHONY HOPE
(Continued from page 22)
satisfied with his version of 'The Prisoner.'
Of course, it is the sort of story and set-
ting that especially lends itself to film pro-
RALPH D. BLUMENFELD
(Continued from page 23)
I reminded Mr. Blumenfeld that not a
few of the books filmed were from the pens
of English authors.
"You may be right, but the ones I see
are all turned out in the same mold.
What do you suppose the great uncon-
trollable inland populations of the colored
races of India, Japan, China, the Philip-
pines, Africa, must be set to thinking when
they see the 'superior' white man reeling
about their civilization with dope and
drink, intent on crime, being kicked about,
handcuffed and imprisoned by inferior
policemen. Doesn't tend to lighten the
White Man's Burden, do you think?
Rather helps to make a menace of the
'rising tide of color' we hear so much
about, and not without foundation. In
these populous centers of China and the
Uganda they have never seen, never con-
ceived of the white man being so easily
handcuffed and made prisoner. I tell you,
these low-toned films complicate the world
problem, which heaven knows, is bad
enough already."
I confessed that this was a fresh view-
point that demanded serious consideration.
"Mind you, I dont say you are not turn-
ing out any good pictures, but what makes
the British well-wisher mad is that for
every good film you put forward you de-
mand that the exhibitor take six duds!
Block booking, that's what makes all the
trouble. I am working and my paper is
working to make block-booking illegal."
I was a little skeptical of the drastic
carrying out of this idea as he pictured it.
Whereupon Blumenfeld seized the latest
edition of his paper that had been laid
on his desk a moment before. "This is
what I mean," he said, beginning to run
his finger down the list of cinema theaters
' 'Too Many Kisses,' 'Too Many Kisses,' "
he read over and over again. "Now, un-
less the exhibitor takes 'Too Many
Kisses' " — he smiled at the patness of the
title — "he gets one big kick from Holly-
wood and finally gets nothing. And that's
just the sort of film the whole world
would be better off without — 'Too Many
Kisses' — England is sick of that sort of
film, but cant help herself — yet."
SIR ARTHUR CONAN DOYLE
(Continued from page 23)
"I cant spare much time for them — you
see, I have my own little shows to carry
on." He indicated a long box full of slides
he was looking over. "I'm on my way to
Brighton now to give a lantern-slide lec-
ture. This little box has been all over
America with me — competing with the
films." He laughed good-naturedly.
"Did you collaborate at all in the making
of 'The Lost World'?" ■
"Oh, no. Why should I ? They know
their work amazingly well, it's a great
art in itself. They made an amazing thing
out of my book, I should say. Dont you
think so? Altho I confess, I dont think
it will ever add much to my reputation—
you know what I mean — it's not the sort
of thing I'm really doing, you know."
I thought I knew what he meant and I
told him that I did not think that anything
could ever add to his reputation after
doing "Sherlock Holmes." But Sir Arthur
did not know that Holmes had been filmed.
He shook his head uncertainly about it.
"What I am looking forward to is the
appearance of moving — that is, animated —
photographs of the fairy and spirit world.
They are bound to come I"
He always came back to his fairies or
his spirits. "It's my life-work," he added
later in explanation. "But there is n<
doubt whatever that the films reach a grea'
audience and their power for good — am
evil — is enormous. For that reason alont
they all ought to be good — I mean wel
conceived, well done and bring about well
being. Come, wouldn't you like to ruf
down and see my Psychic Book Sho
which I have just opened in conjunction
with Sir Oliver Lodge? I'll call a taxi
64
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65
HAMLET AND THE FILMS
(Continued from page 21)
The Two Mediums
Dakrymokk explained more in detail his
theory regarding the differences between
the two mediums — stage and screen.
"It is chiefly a difference of dimension,
isn't it?" he postulated. "Take a thing
such as 'The New Sin.' A genre piece.
The characters are all men. You can do
that in a play — you can take a morsel of
life and hold it up and analyze it before
an audience for two hours at a stretch
and make it interesting. The most excit-
ing scene I ever saw in a play was one of
Bernard Shaw's scenes in which three men
sit at a table and talk. On the stage it was
more exciting than a Mexican bull-fight.
"In pictures it is very different. You
cannot photograph a thesis. You do not
have the flesh and blood and the voice to
work for you. But the reality is just as
great. The picture is purely ocular, isn't
it ? In a play there are more facets work-
ing— more dimensions presented. But in a
picture there is greater scope, a broader
sweep — more power — a larger canvas. On
the stage a certain artificiality may not de-
tract, but in the pictures it is fatal. They
are so damned alive !"
Barrymore illustrated his point by refer-
ring to scenes from pictures of the past,
incidentally paying high compliment to the
pictorial acting of Mary Pickford, Lillian
Gish and John Gilbert. The scene in "The
Big Parade," in which Gilbert as a dough-
boy teaches Renee Adoree, the village
mademoiselle, to chew gum, was mentioned
by Barrymore as one of the best pieces
of acting he has ever encountered.
Contrary to a general impression, Barry-
more is not at all cynical about his con-
temporaries. I even fell flat in trying to
draw from him a sneer for poor old Robert
Mantell. Barrymore said he thought Man-
tell's soliloquies in "Macbeth" were "great."
And he fairly glowed when he spoke
of the cast which trouped with him thru
"Don Juan." Mary Astor, who plays op-
posite as Adriana; Warner Oland as
Cccsar Borgia; Estelle Taylor as Lucresia
Borgia; Nigel DeBrulier as Marcus Ri-
naldo— those and all the others were
"great."
The Modest Barrymore
It was rather surprising to hear Barrymore
1 talk this way, because there is an opinion
abroad that the brother of Ethel and
Lionel is inclined to feel his own impor-
tance. If he does so, John Barrymore is
a greater actor even than I thought him.
To all appearances he was as earnest, as
honest, as simple in his enthusiasms as if
he were a little girl' from Medina, Ohio,
who had just won a beauty contest and
was working in her first picture. I am
almost inclined to believe that envy has
given rise to rumors about Barrymore
being high hat, autocratic, temperamental.
Temperamental — my stars! If any direc-
tor had asked an average group of extras
to get into that slimy, chilly tank, the
ensuing outburst of temperament would
have reverberated thru all filmdom. Of
course, Barrymore's check is larger than
an extra's. But by the same token, a star
drawing such a check as Barrymore's is
not usually expected to do such stunts,
while extras are. Jove ! I would give an
eye to be there when some director asks
Mae Murray to take a similar plunge !
"And the comedians !" exclaimed Barry-
more, enthusiastically. "I think they are
wonderful — Chaplin, Lloyd, Keaton. The
Mack Sennett comedies are the greatest
thing in drama!
"I remember a scene from a Sennett pic-
ture where a coon is beset by a crowd of
The strenuous movies are quite different from the speaking
theater. The studio is a far cry from "Hamlet's" stage door
1
comedy highwaymen. He cries 'God hep
me !' And a clock falls down from its
tower, squashing the bandits. 'That's what
I call service !' exclaims the coon. There's
nothing in 'Hamlet' any better than that !
"For this reason I like pictures. They're
so real — so fresh — so new. Making 'The
Sea Beast' didn't seem like a movie at
all. It seemed absolutely real.
No More "Sweet-Scented Jackasses"
"I consider 'The Sea Beast' and 'Don
Juan' the first decent things I have
done in pictures since 'Dr. Jekyll and Mr.
Hyde.' That was the only thing I had
ever made before that was any good. I
got so tired of these sweet-scented jack-
asses I had been playing that I wanted
to do some character with intestines. They
were good enough to let me take the
story of 'Moby Dick.' "
I reminded him that other less celebrated
actors were less fortunate. Barrymore
admitted the existence of purblind pro-
ducers, unable to see the possibilities of
screen characterizations. He said he got
a chance to play Jekyll and Hyde by a
ruse. He made a strip of film showing
two characters — one sinister, one benevolent
— and presented it to the head official of
Famous Players. This gentleman swal-
lowed the bait, thinking he had made a great
discovery — Barrymore for Jekyll and
Hyde! And he trotted off to persuade
the actor he ought to tackle the dual role.
"Pictures are fascinating," resumed
Barrymore, "because in pictures we pro-
duce things of fantasy such as 'Siegfried'
and 'The Cabinet of Dr. Caligari.' This
mighty field is just beginning to be ex-
plored. The possibilities are limitless.
Years ago, I was asked by a producer what
kind of picture I wished to make next
and I said, T want to do a picture in which
I have a fight with a horned toad.'
told me I was crazy. But I am goir.
make that picture some day — I hope befort
very long.
And Then Next
"""There is already the beginning of a new
movement in pictures — evidences of it
in such pictures as Fairbanks' "Thief
Bagdad,' and 'The Lost World.' I hopt
that my next picture "
Whatever Barrymore hoped for his i
picture must wait, for at this juncture «
loud voice called out to inform us thai
the water was ready for the last shot o:
"Don Juan."
The man of the movies shed the arm>
blanket he had wrapped around his shoul
ders and with a grim smile plunged intc
the slimy depths.
The scene represented an escape fron
prison — a ghastly chaos of rushing watt
and struggling arms beneath the cold glar|
of studio lamps.
Don Juan, confined in a dungeon a
Rome, had loosened a stone and burst hi
bars. But his efforts also had loosed
flood of murky water from the Tibei
Under gaunt, cobwebbed arches swept thi
foaming cataract, while from the grate
cell adjoining, he whose wife the philar
derer had filched— the character played 1>
DeBrulier — screeched imprecations at th
wounded, struggling swimmer.
I waited long enough to see Barrymor
fished out and headed for a warm dressing
room with a bath, a rub-down and a month
fishing trip ahead of him. He deservt
them all.
That Poise
which comes from
is noticed
It it alike "lilllt" mm
air> that you are under ike
loittt scrutiny. Areyoucare-
!*1 M tkoo't ike ':(!•! • kadeoi
ttadtr w match yon-
"By MADAME JEANNETTE
^ jhwun COtfMth '•»'». mjmol h\ 1 t>r r.^inpi i >r
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j.Ku. tcKanliiiK fhc cm- of ihr skin ami thr
proper use of btsut) prtpftntktfll
/I S( )FT, delicate texture—
^-/* a lovely satiny face— yet
not a sign of powder. What is
the Secret of her alluring corn
plexion? Hoes she USe powder?
She does, but. a shade that
matches so perfectly the tone
of her skin that she secures the
good effects of powder without
seeming to use it.
All smart women strive for
a natural complexion, hut all
do not achieve it. Not all
women have found a powder
that really matches their skin
— a powder that reveals their
natural coloring. These women
thank me for telling them about
knowing that your complexion
but your powder is not
Read how the scientifically blended shades of
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and eyes tome for special advice.
Pompeian Beauty Powder.
Complexions are not composed
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your complexion must also be
a blend.
Pompeian Beauty Powder is
scientifically blended from dif-
ferent colors. Whatever the
tone of your complexion, some-
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Choose the correct shade for
your complexion from the shade
chart. In case of doubt about
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description of your skin, hair
Shade Chart for selecting your
shade of Pompeian Beauty Powder
Medium Skin: The average Amer-
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This skin should use the Naturelle
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Olive Skin: Women wim this
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hair and eyes. This skin should
use the Rachel shade to match its
rich tones.
Pink Skin: This is the youthful,
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White Skin:Th\ssk'in is unusual,
but if you have it you should use
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Pompeian Beauty Powder is toe
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67
The Stars Tell About Their Gardens
(Continued from page 26)
Adolphe Menjou
Adolphe Menjou's
especial pride is an
oleander hedge (Neriutn
Oleander) .
"I had a nurseryman
set out the plants where
they would have plenty
of sun. I dont allow
them too much water.
Each spring the soil is
enriched and each au-
tumn I carefully prune
the hedge.
"I do not recommend
the oleander except for
climates like ours, since
it will 'winter kill.' "
Raymond Hatton
Day Hatton rejoices
** in a flowering al-
mond-tree.
"I planted it four
years ago, when it was
no more than a lone-
some shoot, setting it
carefully in sheep ma-
nure. Since then it has
had no attention except
yearly pruning and fer-
tilizing."
Anita Stewart
To Anita Stewart there is a charm
about the "Shasta daisy."
"If you live in California, plant your
seed in January, or set out your seedlings
in February. For a hedge of daisies,
scratch a groove an inch deep in moist, fine
soil. Keep the ground soaked until the
shoots appear, then thin out the plants to
a distance of five inches apart. Be care-
ful to mulch them in hot weather until
the root-stem becomes woody close to the
ground, or thev will be burned and die."
Dorothy Phillips .
Qorothy Phillips: "Calla lilies are a
satisfaction because they are easy to
raise and so decorative.
"Bulbs should be planted early in the
spring. If arranged in a hedge, they bloom
best. When the bulbs send out shoots, dig
very carefully around the plants ; then give
them plenty of water and — that's all there
is to it !"
Warner Baxter
VT/arner Baxter
thinks his Spanish-
style house is best set
off with Amaryllidacece,
a cactus of Mexican
origin, better known as
the century-plant.
"The beauty of these
plants is that you put
them in and let them
alone for fifty years.
They need nothing but
sun and water."
H. B. Warner
LI B. Warner has
" been in California
only long enough to buy
a house, but he has al-
ready planted some tiny
pansy plants.
"I know that all that
is necessary to grow
pansies, once they are
planted in good, rich
soil, is to keep them
Warner Baxter devotes his spare time to cultivating a cactus of
Mexican origin
a lot of time thin-
ning them. In winter,
watering once a week
is sufficient (for Cali-
fornia), and in summer
every other day. Every
two years transplant to
a new bed.
"Keep the tops cut
down and dead stalks
removed and you will
have the neighbors beg-
ging for slips.''
Louise Fazenda
I ouise Fazenda is
another lover of
pansies.
"If you want your
pansies to look their
best, separate the
clumps into single
plants to give them
room. The advantage
of this, also, is that you
can arrange your
colors to suit your own
fancy. I like to gradu-
ate my flower beds and
have the pansies backed
with taller flowers and
sometimes bordered
watered and carefully pick off the blooms.
The more you pick them, the more they
will bloom."
Mildred Davis Lloyd
JV/Iildred Davis Lloyd: "Poinsettias be-
• gin to bloom in November. During
the blooming season, supply with plenty
of water, and when they have finished the
flowering, cut down almost to the ground.
Plant these cuttings in rich soil in an-
other part of your garden and they will
bear flowers the next year."
Charlie Chase
C^harlie Chase: "The silver daisy makes
a very decorative flower border. It
has a faintly purple-silver bloom and each
daisy lasts a long time. I raised mine from
seeds, planted in soil that is rather sandy
early in February. If you set out plants,
be sure you set them well apart, as the
daisies spread and you may have to spend
with the lovely sweet alyssum."
Anita Stewart and her Shasta daisies
The Answer Man
(Continued from page 63)
vacuum cleaner. The players you men-
tioned are with Famous Players. Wallace
Beery and Neil Hamilton are playing in
"Beau Geste." Of course, I go to the
office every day.
Muriel D. — You refer to Ray Howard
in "Sally, Irene and Mary." Baby Peggy
Jean Montgomery will be eight years
young on October 26th, while Jackie
Coogan will be twelve on exactly the same
day. Ten years from October 26, she
will be eighteen and he will be twenty-
two, so it is quite possible, you see.
Carolyn G. H. — So you are going to
Scotland, and you want your Classic
sent there to you. It shall be done ! I
didn't know you were right around the
corner from me.
Gerald from Movie-
land. — Well, the best
way to be contented
with your lot is to
build a house on it.
Shirley Mason is not
playing now. Sally
O'Neil has been loaned
to Buster Keaton for
the lead in his next pic-
ture, "Battling Butler,"
from the stage-play.
G. S. D.— What beau-
tiful orange stationery.
Well, Ramon Novarro
is twenty-seven years
old. The only way you
can get a personally
autographed picture of
him is to write to his
most able, alert and con-
scientious press-agent,
Herbert Howe, Metro-
Goldwyn Studios, Culver i
City, California.
Rebecca B.— Wei!, we
have a lot of things in
common. And you know
(Continued on page 71 J
METROPOLITAN PICTURES
enttd hy John C. Flinn
iPriscilla
Another Priscilla
Dean feature
coming is
"Forbidden
Waters "
By
Percy Heath
OBODY deserves popularity better than
Priscilla Dean, whose pictures are the delight
of more than a million devoted fans. Her
sparkle and gay charm, her daring escapades,
her altogether bewitching way of slipping in
and out of danger, have endeared her to au-
diences everywhere.
And now this fascinating star is making
for you three wonderful pictures — crowded
with fresh comedy, breezy situations and
hair-raising thrills. Watch for them !
Another Priscilla
Dean feature
coming is
"The Dice
Woman"
By
Percy Heath
ii
THE DANGER GIRL"
with JOHN BOWERS
adapted by Finis Fox from "The Bride" by George Middteton and Stuart Olivier
Directed by EDWARD DILLON
Here is a spectacular drama worthy of the ex- one another as Miss Dean winds in and out the
traordinary talents of Priscilla Dean. A daring tangled thread of the story and proves herself
jewelry robbery leads to a desperate situation in more captivating than ever,
which suspicion falls on everyone. Rapid-fire A delightful film which nobody can afford
action, quick laughs and tender romance follow to miss!
RELEASED BY
PRODUCERS DISTPJBUTING CORPORATION
t. C. MUNHOE. Pr™«k»i RAYMOND PAWLEY. Vm-Kittmt ml Tm*m JOHN C FUNN. VlM-Ptofckiu »nd G»>«.l VUnmn
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70
Marion Davies entertains George Wilson (left) of the Los Angeles
Tigers and Red Grange (right) of the Chicago Bears. Here are two
big-time professional football players
Super -Realism in the Movies
(Continued from page 43)
King, von Stroheim, Vidor, Ingram, I am
nevertheless worried about their attitude.
Lubitsch I regard frankly as a dan-
gerous influence, much as I admire his
sophistication and his wizardry. Stro-
heim is a tortured, unhappy spirit, who
plainly never does what he is after, but
has a boundless genius for cinema com-
position ; he has been developing down-
ward from the dynamic "Greed" to the
virtually static "Merry Widow." Vidor in
part of the "Big Parade" creates some-
thing of sheer perfection. Henry King's
"Stella Dallas" was undoubtedly the out-
standing achievement, the master stroke,
a picture which, like "The Last Laugh,"
seemed to have absolutely everything the
motion picture could give us.
YY/hat I fear much is the influence of
the Lubitsch of "Lady Windermere's
Fan." Mind you, he is amazingly clever
and sure of himself. But to me he seems
to depart steadily from the true character
of the motion picture. People sit in a
salon, or in a hotel room, weeping their
closet dramas sardonically over each* other's
shoulders, and one of them, behind the
other's back, grimaces, mocks. On these
. subtle gestures of people in a London
drawing-room he centers the spotlight of
your attention. The beauty of these stunts
is not of motion, or of dynamic forms, it
is "literary" and stationary. The movies
become a vehicle for his particular brand
of skepticism. But I cant bear watching
merely skepticism spread over a large
screen. I must see things, people, in re-
lated motion. Here they stay in a room,
the tempo is slow, and everything is re-
duced to little smiles and grimaces, or
hand waves that move back and forth to
each other. ... I would rather read
Lubitsch.
I do not .question the all-important business
of the director (conductor of the whole
symphony) to select, to arrange the order
of things, to relate the movements, to
compose his "shots" in order to gain the'
utmost effect or atmosphere.
"I prefer to suggest ideas .and situations
in my pictures," says Lubitsch, "rather
than to load them down with nothing but
the starkly realistic."
And Rex Ingram says likewise:
"The most convincing atmosphere is
often far from realistic. Because the di-
rector aims to get over the effect of th<
atmosphere he desires, rather than th<
actual atmosphere which exists in sue!
scenes . . . which, reduced literally to th*
screen, would be quite unconvincing."
Yes, this is all very sensible and ven
clever, when it does not go too far. Bu
you must not get away from the camera
you must give it space to roam and worl
in, room to breathe. Otherwise, you los^
(1) the particular revealing super-realise
that the motion picture has, and (2) th
significance and beauty of objects in re
lated motion which is the very soul of th
cinema.
It is fashionable to be subtle and "arty
just now. To be suggestive. In "Th
Merry Widow," von Stroheim blurred th
film every time Mae Murray wept. 1
was like the false impressionism of painter
some years ago. Why should we look i
colors or faces thru a fog, if we were neai
sighted. In the same film there were mai
velous shots of John Gilbert's head, isolate
in a close-up, as he reacted to some shod
Here the firm, clear tones of the pictui
made it seem like a great piece of sculptur
The effect of the unabused camera was iiJ
finitely stronger than the fake impression
ism they go for when they try to color c|
touch up a picture, or when there is y
sunset, or moonlight over water. And Jul
as bad as the gushingly sentimental fad*
outs of the end are the places where til
sets have too definitely the air of beiifl
fresh from the scene factory. I know, <*|
(Continued on page 77)
,
C A S H M
b o u a u
! I'nderwood & Underwood
ack Dempscy and his wife, Estelle
'aylor, on the roof of the Hotel Fleet-
rood at Miami Beach, Florida, gaze
ut upon the waters of Biscayne Bay
The Answer Man
(Continued from page 68)
e habit of going to the bottom of things,
ually lands a man on top. Forrest
anley opposite Marion Davies in "When
nighthood was in Flower." You were
K.
May's Bud. — Well, the trouble with
>st marriages is that a man always
ikes the mistake of marrying the woman
\o carries him off his feet — instead of
' ing to find one who will keep him on
bnx
Margaret Louise. — Yes, that was
Urold Austin in "Black Lightning."
m "Twenty Thousand Leagues Under
t Sea" was done about seven or eight
Jdrs ago. Sure, but when days go wrong,
member they aren't self-starters.
Zhic— Just mark down 1895 for Valen-
H>'t birth year.
■weft Turpentine. — Women can ask
^stions which wise men wont answer.
Cria Swanson was born in 1897. Con-
I Tearle finished work in "The Dancer
itn Paris" and left for the Coast to
Min work on "Good Luck," a famous
Biry Lane melodrama for First National.
4{'ita. — I dont think anything will hap-
( 3om up of i velvet
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71
Something
DIFFERENT
for fobbed Hair
There is a tremendous difference
in bobs. Some are wonderfully
attractive and becoming, while
others, well — which kind is yours?
I wish you could picture the
becoming kind I have in mind —
the sort that makes men turn to
admire. I can't tell you what the
color is, but it's full of those tiny
dancing lights that somehow sug-
gest auburn, yet which is really no
more actual color than sunlight. It's only
when the head is moved that you catch
the auburn suggestion— the fleeting glint
of gold.
You have no idea how much your
bob can be improved with the "tiny tint"
Golden Glint Shampoo will give it. If
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"Old Town Canoes" are low in price too. $64
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The 1926 catalog is beautifully illustrated
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Old Town Canoes*
72
pen to me, unless it be enlarged condition
of the cranium due to excessive flattery.
Norma recently completed "Kiki," from
the stage-play.
Ramon Novarro Fan. — Of course, if
you feel- like writing to the editor, you do
so. He will be glad to hear from you.
Gladys W. W.— I think she is, but I'm
not sure. No, David Powell was mar-
ried. Webster Campbell directed Doris
Kenyon in "The Half-Way Girl."
Magdale. — Yes, the Brooklyn Navy
Yard is not far from our office. That's
why we dont eat peanuts here — afraid the
shells might scare the sailors. Patsy Ruth
Miller is with Warner, and address Jack
Mulhall at First National. Fred Thomson
owns the horse, "Silver King."
Anna. — That was some stationery you
have. No, I never get tired answering
questions. That's what I get my $12.50
(Continued on paye 74)
Random Impressions of Hollywood
(Continued from page 55)
actors running around loose, going to and
from restaurants and soda fountains with
their make-up on. Elsewhere the city is
just like any other.
L-Jarry Carr is very popular here with
everybody and much beloved. He is
now doing a little work for Lasky, but
Brewster Publications still have a lien on
him and hope soon to haul in on the chain.
I
saw "Don Q" in New York last spring,
and in London last August, but it just
arrived in Hollywood late in January.
"Ben-Hur" and "Lady Windermere's Fan"
are not here yet. Yet they were all made
here.
Cox is fixing up their lot. It now looks like
a rubbish heap — part of it — but they're
going to make all the other studios take
a back seat. The outside of Lasky's looks
like a lot of old sheds and barns nailed
together. They are going to move out
soon and take over First National, and
First National is going elsewhere.
In every studio now they have at least two
cameras on every scene, and they take
every scene twice, which makes four nega-
tives of every scene. You folks see only
the best of the four.
Jack Holt has the prettiest cigar-lighter
in Hollywood. He works it with one
hand, which he cant do with a match. He
was smoking a cigaret and I said, "For
shame — you should smoke a pipe." He ad-
mitted it, adding that he does so at home,
but at the studio a pipe is awkward and
is likely to be mislaid.
YY/hen I first saw Esther Ralston on a
First National set, I said, "Hello, I
haven't see you since 1913 at the old Kalem
studio when I was photographed with you
and Alice Joyce and the Answer Man."
She looked puzzled and said "Y-e-s." Then
I discovered that I was not speaking to
Anna Q. Nilsson, and we all laughed, in-
cluding Anna Q., when I told her a mo-
ment later. They do look something alike,
now dont they ? Only I guess Esther
doesn't date back quite so far.
Cince I have been in Hollywood I have
kept my lamps trimmed and burning,
and I think that Tom Mix is the finest
specimen of He-manhood I have yet dis-
covered. He looks good to me, and he
talks even better than he looks. He is a
mature man of well-thought-out ideas.
C~V course, anybody would recognize the
six feet three of Ernest Torrence a
mile off. When I got within hailing dis-
tance, I said, "Come hitherward, little one,
I wouldst make speech with thee." He
came hitherward with knitted brows and
piercing eyes and pierced me. "Ah, 'tis
thee," he answered and then we shook
hands. Mine is sore yet.
Qnk who has traveled thru France and
Belgium observes at once when travel-
ing thru America the striking difference
in the houses of the poorer classes. Abroad
the poorest and humblest are picturesquely
beautiful ; in America they are monstrosi-
ties of ugliness — until you get near Los
Angeles. There are very few ugly houses
around here, and I guess those were built
by Easterners.
"Daruon my persistency of vision " 1
said gravely to Constance Talmadge
when I found myself in the same elevator
with her at the Great Western Costume
Company. "To what fortunate circum-
stance do I owe the honor of this imperti-
nence?" she replied haughtily. Then we
both laughed heartily and shook hands.
You see we were old friends — at least of
nine years' standing.
VT/uen I was introduced to Ricardo
Cortez, he greeted me with all the gal-
lantry of a cavalier and knight errant but
quite naturally. He looked quite as hand-
some and polished as ever Valentino did
and he has those dreamy eyes with the
whites showing under them that always
makes feminine hearts flutter. I think this
man will perhaps be counted among the
screen idols of the near future.
"In thy arms let me taste the delights of
paradise," I greeted Alec Francis on
the Lasky lot, and then we embraced like
two Frenchmen. I had not seen him for
twelve long years, and he looks younger
now than then. .
If I were asked to name the most popular
player in Hollywood, I would hesitate
between Florence Vidor and Marion Davies.
Neither is at all up-stage, and both are
charming.
If you think you have a few automobiles
in your town, wait till you see Holly-
wood and these parts. Everybody ha-
— even the cook. Cars are as important
here as shoes — more so.
17 very day a Santa Fe train leaves Chi-
cago for California, and each train
has four long sections full. Returning,
two sections are usually empty. Soon
evervbody will be in California and Florida.
There are real-estate offices on nearly
every business block, and some have men
out in front laying for you.
Assistant directors are more important
*~* here than directors. At least, the>
think they are.
''There are 2,479,781 directors her.
(approx.). Nearly everybody has di
rected or thinks he can direct, and want
to try. Multiply this by five and yon hav*
the exact number of those who can ac
or think they can act and want to try
If you thought of coming, too — well, donl
Paging the Film Fathers
mlmued from pogt
emained behind to till Ins fields when
■ir and daughtei went to Hollywood,
t ittx them home soon Hut instead
»ent tor him!
en Norma Shearer was a girl in
eal, hei lathi i was master oi tin
A picture ot him in his hunting
i hangs over her Hollywood dreai
luit Norma hasn't seen her fathei foi
His business keeps him in
ind Mis Shearer travels across
mtinent twice a yeat to he with him
.i tew ilass so the movies are responsible
tor the breaking up oi one happy home.
Fathers in All Walks of Life
From all walks oi life the players have
■eome; from the New England factory
where Neil Hamilton's father worked
metal polisher ("But I took Dad out
shops last year," says Neil happily) ;
Pennsylvania coal-fields, where the
rider O'Malley toiled and Pat himself was
i breaker boy ; from the Chicago apart-
ment house where Mary Philbin's father
in his street-railway uniform brought the
newspaper announcing that his little girl
v.in a beauty contest Mr. Reynolds,
Vera's father, is a Los Angeles politician.
Howard Davis, father of Mildred, is a
paper man Marion Davies' dad is a
justice in New York City.
In the war George Arthur's father had
to salute his own son. He is a contractor,
formerly of London, now of Hollywood.
At first the Arthurs did not like the blaze
>f California sunshine after London fog
md returned home. Ten days later they
rabled that they were sailing for America.
Sometimes a screen star does not add
uster to the paternal name, when that name
j not considered dressy enough for electric
ights. J. Cronk found his surname no
lindrance in the banking business, but his
laughter changed her name to Claire
A'indsor.
One evening last year Hollywood ob-
served Mae Busch dining at the Cocoanut
jrove with a handsome, grey-haired man
vho seemed very devoted. The next morn-
ng's paper announced her engagement — to
in "Australian millionaire." It was a week
>efore the mischievous Mae revealed the
:act that it was her own father. For
nany years Mr. Busch had lost trace of
tis daughter. Mae had left Australia with
l traveling road show. Then one day he
ead an interview with her in a fan maga-
:ine. and that very night took a boat for
-os Angeles.
A favorite movie plot in the early days
>f the movies was that in which a locket
dentified a long-lost child. Life has quite
is impossible plots, as Jack Gilbert dis-
overcd last spring, when a perfect stranger
ame to his dressing-room and holding out
lis arms in the fashion beloved of melo-
Irama greeted him with, "My boy ! My
>ov !" Papers he carried proved unmis-
akably that he was Jack's real father,
vhom his mother had divorced when he
vas a baby, and of whom he had never
>een told !
In the eyes of the fathers of the stars,
s thev gaze at their famous children, is
ride — and something else, bewilderment.
Vre they thinking, perhaps, of the days
■ hen these glorious beings were not screen
tars, but little boys with grubby hands,
nd little girls with missing front teeth,
3 be taken care of and scolded and loved —
nd spanked?
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74
Letters to King Dodo
(Continued from page 61)
New York.
Dear King :
Your Majesty must begin giving a
thought to your wardrobe at once. I have
just seen Rudolph Valentino upon his re-
turn from Europe and I realize that your
regal raiment is sadly out of date.
Valentino came back with a dozen or
so fur-lined bathrobes. Scores of pleated
trousers. (A lot of Italian relatives, too.)
He still wears his slave bracelet. On the
other wrist a watch held in place with a
second slave bracelet. A couple of plati-
num chains across his decorative waistcoat
complete the ultra touch.
With his new divorce, Rudy was de-
cidedly happy. ' There's just one cloud upon
his horizon. His pictures have been barred
in Italy because of his recent plan to be-
come a naturalized American. Suppose this
international problem should ultimately lead
to war, Your Majesty! Just suppose.
Imagine your subjects rushing into enlist-
ment camps with the cry "Make the world
safe for Valentino !"
New York.
Your Majesty.
Reports have filtered all the way to
Manhattan anent one Greta Garbo, a luxu-
rious appearing Scandinavian actress who
is yet to make her debut on your majesty's
screen. When the Metro-Goldwyn powers
looked over Ibaiiez's "Torrent," in which
Miss Garbo makes her American debut,
their eyes glistened. '"Here," they chuckled,
"is the sensation of the next film year.''
"Torrent," I am reliably informed, is but
an indifferent production of Monte Bell
but Miss Garbo flashes like a bolt of
lightning from the silverscreen. So plans
for the immediate making of Miss Garbo's
next picture, "The Temptress," also an
Ibanez effort, have been held up tempo-
rarily while the aforementioned powers
consider how best they can embellish Miss
Garbo's vibrant dramatic qualities.
Hollywood.
Dear King :
By this time Your Majesty will know
definitely whether or not your subjects
have taken a fancy to "La Boheme," in
which Lillian Gish makes her first cellu-
loid appearance since that turgid effort,
"Romola." Doubtless Your Majesty has
heard of the tribulations encountered in
meeting Miss Gish's insistence upon lengthy
rehearsals before each scene. Miss Gish
was developed in the Griffith school, which
calls for weeks and weeks of rehearsal
before anyone unpacks a camera. Director
King Vidor, on the other hand, likes to
shoot spontaneous stuff.
Miss Gish had her way and "La Boheme '
was made as she wished it. Now reports
afe leaking out of Metro-Goldwyn that
Victor Seastrom is having his difficulties
with Miss Gish in "The Scarlet Letter."
Still Miss Gish, who starts for Art with
a capital A, always has her way.
The Answer Man
(Continued from page 72)
per for. Leatrice Joy's first under her
contract with Cecil De Mille was "Hell's
Highroad," in which Edmund Burns played
opposite her.
Miss Ruth. — Yes, it is true that Vita-
graph sold out to the Warner Company.
Thus disappeared from the movie land-
scape a landmark of antiquity.
Jere De L. — Corinne Griffith was born
November 24, 1897. Wallace Beery in
"Devil's Cargo."
Gill, Mexico. — Listen here, you must
not include your questions in letters in-
tended for other departments. When you
do, I have to put on roller skates and skip
all over the map. May McAvoy is twenty-
four, single, and address her at First
National. Yes, Barbara Bedford is mar-
ried to Albert Roscoe. See you again.
Nellie E. O. — Your letter was a gem,
and I'm sure I understand. Anyway, some
of us have to suffer more than others. I
will be glad to hear from you any time.
Katharine L. P. — Yes, there is a Kath-
ryn Perry who is married to Owen Moore.
Marshall Neilan left Metro-Goldwyn to
start his own producing company. His
first picture was "Skyrocket," with Peggy
Hopkins Joyce and Owen Moore, which
had its premiere on the U. S. S. Leria-
than. I have never computed the number
of times Peggy Joyce has been married.
A Movie Girl. — Johnny Walker has
black hair and brown eyes. Percy Mar-
mont played the lead in "The Shining
Adventure," directed by Hugo Ballin.
Betty. — David Powell's last picture be-
fore his death was "Back to Life,"
in which Patsy Ruth Miller also appears.
Mr. Powell died of pneumonia April 16.
1925, and left a wife, living in this
country, and a child, now attending school
in England.
Thistledown. — Wrong! My nose is
not red. But in winter it is like one of
Oppenheim's novels — read to the very end.
Holmes Herbert was born in Dublin, Ire-
land, in 1882. He is six feet tall.
M. T. — Warner Brothers have been busy
developing the new "sheik," Don Alvarado,
and he has been signed under a long-term
contract with them. He is twenty-two; a
Spaniard, five feet eleven, weighs 160
pounds, and has black hair and eyes, of
course. Did you ever see a blond sheik?
Richard Barthelmess in "Just Suppose.'
No, I pass.
Mildred C. — Most of the players you
mentioned are with Famous Players.
Roy S. O. — A new camera was used
for the first time in this country for Betx
Daniels' picture, "The Manicure Girl."
is called the gyroscope, and by using this
camera the cameraman can follow tht
player from room to room and thus get th<
effect of continuous action. It was firs'
used on the German picture, "The Las
Laugh." Tom Mix is forty-six. Hoo
Gibson is married to Helen Johnson, am
Marion Xixon is with Universal. I'll se<
you in my dreams. Good night !
Frenchie.- — Thank you for the drawing
It looked just like Pola Negri. She woul'
be flattered at seeing it, I'm sure. Ramo:
Novarro is twenty-seven. No. I neve
argue. I find that those who argue mo;
are those who know least.
The Ol' Lady.— Hello there, you her
again ? So you received a picture froi
John Gilbert. And you have ridden in ou
Times Square shuttle and know what
is — yes, just like the subway scene i
"Manhandled."
Rose D. — That was a great letter, Ros*
You must write me again, buf you mu:
ask some questions.
Super -Realism in the Movies
ntinutd from page 70)
,. ih.it it i^ generally better to pro
ilmc even exteriors undei the perfectly
tiled light of the studio, and that
oi tin- most triumphant!} realistic
« have hern worked out indoors Hut
what 1 applaud is the realistic spirit with
which von Stmheim, in "Greed," repro
duces .i dentist's othce. Because here he
how varied, fantastic and
lovel) .ill the "business" of such a room
ne when translated to the black
and white of the screen.
Hut when the director orders a certain
kind of bedroom, shaped like a gondola,
let us say, .i bit of fantastic Orientalism)
formal beauty i^ created not bj the
camera, but by the art-director, then I
•, and heroine unhappy.
Tiik more high handed the director be
mes, the more he tampers with the
ra, and so much the more stagy
dives, cafes and boudoirs do you get. You
more and more uncomfortable-looking
rs and more blots and blurs and gloz-
ings on the film. It all seems inevitably
cheap and offensive, and really harks back
lO the trick film that SO completely went
out of fashion. The "expressionisticism"
of "The Cabinet of Dr. Caligari" was
really this same stuff on a much higher
plane Now "Caligari" was actually a
of tableaux invented in the hot-
house imagination of the art-director.
Everything was distorted and twisted, in
accordance with the demands of some
other art — except the more or less life-
like players, who really should have worn
masks. It was a bizarre and fascinating
experiment, but led us in the wrong direc-
entirely. For, once you begin tug-
gesting and touching up, once you stop
photographing people in natural settings
and place them in a distorted cheese-cloth
paradise (whether distorted by sentimcntal-
ism or "expressionistic" fantasy, it does
not matter) you may as well go on scene-
painting everything in your photoplay.
And the further you go in this dirt ■
the further you get away from the impor-
tant and particular qualities of the motion
picture.
T*he camera is a greater artist than any
property-man ! He may try a daring
stunt in the way he handles the perspective
of a building or a wall or a window. But
the camera with its super-human powers
beats him ; it is tar more daring in what
it discovers. For it is an instrument which,
left to itself, seems to have a soul of its
own.
In "The Last Laugh," direct clear camera
shots of a revolving hotel door made a
more beautifully fantastic picture or sym-
bol than any painted contraption in
"Calgari."
I have heard of times when the camera
turned up with effects that the director
scarcely counted on or hoped for. James
Cruze and his colleagues, in making "The
Covered Wagon," became a little afraid
lest the endless trains crawling over the
desert might draw the picture out too
monotonously. But in the act of cutting
and editing it, they realized suddenly that
it was the long line of wagons winding
slowly and rhythmically that carried the
whole picture and even became the hero
of it.
Diausm, Realiam. More Realism Th<
movie camera when used in connection
with real oi natural formi is alwaj
capable ol giving us lomething better and
mole imaginative than when taking form
cenea which have been deprived <>i
their "natural" character thru the in
in fei ence "i the si . n< paintei , Scent
painters, when the) are merely that, should
back t.i the theater, and lei the camei i
do its own work. I in tlu ii com
ii ol interior as well as exterior
scenes should chug to natural forma as
much as possible. They should especially
try to get away from the had tendency
of dressing up rich people's homes in the
most elaborate and horrible had ta.stc.
In von Stroheim'a "Merry Widow" there
were exquisite cinema compositions. But
in their weaker moments they had two de
fects: at times the) seemed complete!) i
tuial and Stuffy ; at other times they would
seem to Stop, like motionless tableaux.
The early portions of "The Big Parade"
had an amazingly natural quality. Life in
the French village behind the lines was
as if in a strange new home; one placidly
lovely picture moved into the other. And
when the big kick of the story came, it
came thru the energy, the motion. There
was a scene where Milisande rushes up
stream, against the mad torrent of motor
transports, looking for her doughboy. In
constant motion, her frail human anxiety
is centered always against a background
of madly rushing force — "The Big Pa-
rade !" f doubt whether anything better
has ever been done with the movie camera.
One remembers also for such beauty
the scene in "Stella Dallas," where Stella
goes into the comfort station: the square
window to the right, the hard bench, upon
which she sits weeping so miserably that
the mascaro dribbles down her face, and
the hard young woman beside her smoking
a cigarette. Supremely imaginative treat-
ment of real detail.
"Ctella Dallas" is perhaps the ideal
picture so far. It has the barest thread
of a story, and resembles the "Last Laugh"
in being essentially the portrait of a char-
acter. In the progression of the film there
was an illusion of reality which only frag-
ments of other pictures attain. Nothing
seemed artificially "composed"; the direc-
tor never thrusts his ideas at you. He
seems so restrained that you have the
illusion of watching, unobserved, from a
window, a life. The vulgar, weak, sym-
pathetic soul of Stella is revealed by a
hundred little gestures and objects: the
cheap, bric-a-brac of her flat, the shiny-
glassware, the posies and favors that her
addle-pated mind loves, assume the greatest
meaning and arrange themselves into the
most intricate and beautiful patterns. Her
predicament is tremendously real and be-
comes steadily more and more intense as
the film clings steadfastly to the single,
poignant idea of Stella Dallas, until she
becomes one of the most tragic figures that
any part has ever presented. I saw no
sentimentalism here; I felt only that the
director had helped the camera to find its
soul in its realistic searching of depths
such as we only suspect and pass by every
day in our own lives.
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77
The Amusement Calendar
offered by
Associated Exhibitors,//^
Oscar A. Price, Pres.
12 3 4 5 6 7
BETTY C0MPSON
HOUSE
PETERS
and.
JAY
HUNT
'for
the
Counsel
From LeroyScott's M m/PgdPWQ f?fi
Famous Novell JLrfrMWrW&&&
Personally Supervised by Edward Silton
Directed by
Burton King
//
8 9 10 11 12 1314
GLENN HUNTER
Ivith
CONSTANCE BENNETT
^"""^' as another of those
lovable boob" characters
^PINCH
HITTER
Directed by Joseph Henaberyfrom
the Story by C. Gardner Sullivan
151617 1819 20 21
STRONGHEART
Ohe most natural actor on the screen,
in a smashing picturization of the^
widely read Novel by Rufus King ~
NORTH
STAR
Presented by
HOWARD ESTABROOK^
Directed by
Paul Powell
22 25 24 25 26 27 28
No Book Learnin'
(Continued from page 19)
at the bottom at seven-fifty a day (when
I could get it) and if I worked, studied,
watched and learned all about every de-
partment of the studio.
"Air. De Mille is the most wonderful
man in the world ! I'm all alone. I
haven't anyone belonging to me and no one
to work for. He is the reason I didn't
go under in those seven years, because I
wanted to show him I could top anything
he had said I might do if I stuck.
"I use psychology on myself. I talk to
myself and make myself follow what I
decide is best. I knew that I very likely
wouldn't stick to such a disheartening
business if I had money back of me. I
was only twenty-one and I had twenty-
five hundred dollars.
"You've got to get rid of that money,"
I told myself. So I stayed at the Alex-
andria for five weeks and spent the money
right and left, only keeping the wardrobe
which I needed for pictures. Then I
worked as extra for weeks, sometimes one
day a week, sometimes three, sometimes
not at all.
"The first day on the lot I was abso-
lutely bewildered. There's never been
such a green extra ! Didn't know any-
thing about make-up and I looked so
funny after I got it on that I was afraid
to go out.
"After three months of this, I was
down to twenty cents and knew something
had to be done. I met Goodstadt, the
casting director, and asked him if he
wouldn't let me go up north with the men
who were to make 'The Sea Wolf.'
" 'Bill, we want men on this picture !'
he said.
" 'I'm a man !' I told him.
" 'But these are tough birds.'
" 'I can raise a beard in a week. I can
look so tough you wouldn't know me !
Just let me go !' "
His First Contract
"LIe looked at me a minute and said:
A A'Come into the office!' And there he
gave me a contract beginning at thirty
dollars a week ! I was so happy — I
thought I was sitting on the world. I
walked all the way from the Lasky Stu-
dios to Los Angeles, stopping every five
blocks to take out the little pink paper
that had 'contract' written on it. You
see, De Mille had said I might be a job-
less extra for years and this was only
three months !
"Every time I had a chance I talked
to Mr. De Mille. Half the time I didn't
know what the devil he was talking about,
but I thought about it and wondered and
finally some of it began to seep in. After
two or three years I realized what he
meant by timing, spacing, and other cryp-
tic remarks. For instance, he might say :
'This will be a six-foot fade-in.' I had to
know when six feet had been ground and
start the action then.
" 'Skip over the center — we're going to
put a title in these.' I must know how
long to hold it for the title and when to
go on."
But after the first few years, the Fates
who sit up yonder spinning destinies
began to get the thread of Bill's life
snarled and knotted. Everything went
wrong.
Then— Hard Luck
Qke day, after a period of hard luck,
Fox gave Bill a contract for two pic-
tures. The wolf was so uncomfortably
near the door that Bill looked on the slip
of paper as a gun to keep the animal
away. . . . That night — of all nights ! —
there was an automobile accident and
"William Boyd — broken leg" was entered
in reporters' notebooks. . . . The contract
was as useless as an unloaded gun !
For nine months the leg refused to
mend.
"The first three months I felt sorry for
myself," said Bill, "I thought I was get-
ting a raw deal and it wasn't fair and so
on. Then one day, as I sat with my leg
propped up, I said to myself: 'See here,
this isn't getting you anywhere. I know
you haven't had anything to eat for two
days, but you've gone without eating
longer than that before this, and it didn't
kill you. You came up then, and you can
come up now !'
"I think that experience helped me de-
velop my spirit. Anyway, a man must
have ideals and ambition and never let go
if he's going to get to the place he's
headed for !"
It's Bill's ability to get something from
every experience, his willingness to learn
even from the most unintelligent fan letter
that has brought him from the rolling mill
of fifteen years ago to screen prominence.
"Oh, but there is no part that isn't
worth playing!" he cried. "Somebody had
to think in order to write the part, no
matter how small it is, and if it was worth
creating in print, it's surely worth cre-
ating on the screen. Perhaps you can
develop it so that it stands out. My part
in 'The Road to Yesterday' was developed.
It wasn't much to begin with.
"Sincerity is the whole thing. If you
are sincere and know what you want to
do, go to it and let 'em stop you if they
can !"
They cant stop Bill.
KIMPEI SHEBA, of the Japan Times, of TOKIO
has written a remarkable article
THE MOTION PICTURE
IN JAPAN
for the May CLASSIC — it is illustrated with
some striking pictures of Japanese film favorites
78
Masterpieces of the
Screen
nlinued from pain- 4C>)
these, " I lu Vanishing American"
nearest to hcing .1 masterpiece, yet
ntaiued several i;I.uuil; defects that
it out ol the one hundred per cent.
1 lu- Merr> Widow." "He Who
Slapped" and "The lluiuhli.uk ol
Dame" rould hardly he improved
their kind, and yet they fall shot t
ie one hundred per cent, rating. "ki-s
Mr \ lines in the same class with
I) Windermere's Kan," hoth almost
perfect in their way, hut the latter had
. ,.| the cue hundred per cent, ele
ts, so that the former cannot he rated
quite -it one hundred per cent. As for
. Hawk," "Hen llur" contains .ill
the fine points that "The Se.i Hawk" cor-
d plus many more, hence it is not in
the one hundred per cent, class. There
are possibly several dozen more threat pic-
tures that 1 have overlooked, but these
will suffice, lli.it leaves us the following,
•i I nominate as the great master
pieces ol the si reen :
lien iiiu
The Wanderer
The Ton Commandments
Stclhi Dallas
The Big Parade
> Windermere's Kan
The Six Great Films
f\- these, according to my lights, "Ben-
Hur" is the greatest. Far greater
than "The Wanderer." which falls in the
il.iss, much better than "The Ten
Commandments," also of the same class;
it seems to contain all the qualities and
elements of a one hundred per cent, pic-
ture, and. therefore, I award it first
honors. I cannot conceive of a more
masterful production. Next to it 1 place
"Stella Dallas," altho it lacks many of the
qualities of a one hundred per cent, pic-
ture. And yet it is certainly the greatest
emotional drama ever produced and a
greater picture of its kind is beyond my
wildest hopes and dreams. "The Big
Parade" is a war picture and stands in a
class by itself unapproached. One can
hardly compare "The Big Parade" with
"Stella Dallas," they being so different in
scope and theme, and they both come very
close to the one hundred per cent, mark
because the great qualities they do possess
are far beyond one hundred per cent. — if
that is possible. According to our chart,
"Lady Windermere's Fan" falls consider-
ably below the two last mentioned, but yet
it is so wonderful of its kind that it must
be rated as a masterpiece.
When you have seen "Ben-Hur," I am
asking you kindly to look again at the
chart in the rtrst part of this article and
check up. I f any reader can name any
other picture that contains anywhere near
the number of qualities that "Ben-Hur"
contains, I will be very', very much sur-
prised. You may prefer "Stella Dallas,"
or even "The Big Parade" if you have
not seen enough of the horrors of war,
but I think you will have to agree with
me that "Ben-Hur," all things considered,
is the great masterpiece of the screen.
Eugene V. Brewster,
Editor-in-Chief of the Brewster Pub-
lications, has been in Hollywood.
Be sure to read his impressions in
this issue.
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The Candid Kid
(Continued from page 35)
My first cast elicited the information
that Laura was in pictures for the do-
re-mi as well as for art's sake, and that is
not her boy friend's name either. Since
she is a blonde, this was entirely unex-
pected, as only brunettes are supposed to
carve the gold out of one's teeth or
tooth, as the case may be.
Not for Art Alone
""The next throw produced the return
that she is entirely satisfied with doing
pleasant parts with Reginald Denny and
not parts unknown and attempted by as-
pirants with a burning ambition and
adenoids.
As a matter of fact, Laura does not
think that she can put the Great Eleanora
Bernhardt on the bum. She deposes that
since she seems to be fated to be an actress
until death or matrimony doth intervene,
that she may as well try to be a fair to
middling performer and a good trouper.
Next she proved to be a genuine girl
by almost lapsing into an emotional coma
at the mere mention of the name of
Ronald Colnian. She said she got the
best weep of her life from "The Dark
Angel."
A Film Fan Herself
""Then she proved that she was different
by not becoming delirious at being ques-
tioned anent her views of that bold, bad
boulevardier, Lew Cody. In fact, she even
defied him by saying that she was going
to move out into his Beverly Hills neigh-
borhood where all the husbands wear the
marksmanship medals they won in the war
all over their vests.
Laura was full of candor. She said
she felt sorry for Lew. She might even
be called the candid kid even tho being
sorry, for Lew has been known to be
serious if not fatal.
Of this she was informed, so the re-
sponsibility is her own.
The conversation progressed thru po-
lice dogs to the carelessness of latter-
day vestals, cigaret smoking and psycho-
analysis, even to nearing the last hope of
all interviewers, the Volstead law. Then
the b. f. returned and started to wind his
watch.
Laura got -her start in pictures with her
candor. After taking a flicker at the
flickers as an extra, Laura braced Al
Christie for a job in stock as an ingenue.
She got the job.
Laura's Career
Cince then her rise has been rapid. She
^ is now one of the best bets out at
Uncle Carl Laemmle's Universal joint.
But she has not even dropped back into
second.
You will note that I have not attempted
to describe her. Who has been able to
dissect a dimple with a typewriter or catch
the lilt of a liquid laugh. You are able
to look at the pictures. If you are not
satisfied with Laura's looks, you are a sap.
If you would read and believe a lot of
applesauce that I might write about her
rise to success, you would be a still greater
apsay.
It has never been a question of Laura s
getting into the movies. They could not
keep her out.
The Candid Kid's got what it takes.
MORE IMPRESSIONS OF HOLLYWOOD
By EUGENE V. BREWSTER
In the May CLASSIC
80
The Master Mind of the
Movies Speaks
ntmued from pag*
"You ire -n. ii. Master," I breathed.
-In motion pictures." he replied mod
eitly, "1 am I N' ything. Ml that has
that i- I Ml th.it is hfinj!. thai is
1 \u thoughts, my plans, mj dire< tion,
tr.xii tlu sun kissed sloi^s .'t California,
lo ■ • •" ., .
•■Tlu- rock bound coasts <>i Maine, I
completed, glad lo be oi an.) assistance.
The Alpha and Omega
••LT\\ .\." he -viiil "That .iN<> is mine.
*-" I .mi the Alpha and Omega. II an)
thing is m>. it i- b-cause 1 have said it
must be so. li there are cabarel scenes,
iming |hk)1s, orgies, romping flappers
ami faces that appear in the hearl of .i
it is because I wish to have cabarel
scenes, swimming pools, orgies, romping
flappers and faces that appear in the
heart of a rose."
" \nil that lets out a lot of people." 1
"People!" he puffed, "what people?
Lubitsch, Griffith, IV Mille, Ingram,
Neilan, Robertson, Brenon, Fox, Gold-
w\n. Lask) pawns, tools, puppets of my
genius; my raw materials, my clay, my
canvas, my tubes of color, the keys ol
my piano. / direct, / undertake, / dis-
1 tell them what to do, and they
do it I"
"Indeed they do, Master," I agreed,
politely.
"And now," he said, with a vague ges-
ture of finality, "you know what you know.
Which is not much. And you may tell
the World. Which is also not much."
"Thank you, Master," I said. "Shall I
ack the same way 1 came?"
"You have seen ME!" he replied. "You
cannot possibly go hack the same way
that you came."
The Master is right 1 am a changed
man. Now. whenever I look upon a super-
special extra gold star fifty-two jewel
feature picture, 1 lose my appetite and
black spots appear before my eyes.
And sometimes I have to carry a heavy
cane.
DON RYAN
The CLASSIC'S
brilliant writer,
is interviewing
RUDOLPH VALENTINO
for the MAY Issue!
WATCH FOR IT!
This is one of fifteen
sensational
features !
j n r
RUOt.NI/l s IN mis \\\ VR|i |OR DISH)
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Romeo -Juliet Contest
Winners
(Continued from page 7)
Romeo and Juliet? Why, Mary and Doug,
of course. Mary's loveliness combined
with her years of acting experience make
her an ideal choice for Juliet. And Doug !
Why, he is the only actor I know of who
could put the necessary verve and dash
into the role of Romeo. I'd give up a
whole year of picture-going, if, by doing
so, I could see these two favorites make
"Romeo and Juliet," a real classic of the
screen. Sincerely,
Miss Tona Swan,
2496 Fulton St.,
San Francisco.
Honorable Mention
John Barrymore and Mary Pickford as
Romeo and Juliet would be an achievement
for the screen.
Barrymore, the polished artiste, giving
us love, grace, physical charm, and intense
passion.
Mary, with her ethereal beauty, sincer-
ity, and natural ability of emotional ex-
pression.
"Romeo and Juliet" calls for sweet ro-
mance, intense love, blended with fire and
passion.
Barrymore and Pickford can give us
all these. Virginia Keller,
112 Ea. 40,
Tacoma, Washington.
Honorable Mention
It is a trite but nevertheless true state-
ment that Lillian Gish and Ramon Novarro
possess the complete lyrical beauty of an
ageless classic. They alone, among us of
the earthly earth, seem to have caught the
perfection of eternal youth. To them
love would be the unquenchable fire of
Zoroaster.
Jessie Livingston Butler,
1523 East Boulevard,
Cleveland, Ohio.
Honorable Mention
Since I first saw a picture of Ramon
Novarro, he has been my ideal of the
perfect Romeo. I shall be deeply disap-
pointed if anyone else is cast in that role.
Quoting Harry Carr : "He has romance
without physical taint."
Mary Astor has wistfulness, dark
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Mrs. H. L. Kington,
248 W. Broadway,
Madisonville, Kentucky.
Honorable Mention
One must bring to the roles of Romeo
and Juliet not only physical beauty and
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is the perfect Juliet. She is convincing
in pathos, has youth and a great spiritual
beauty. The ideal Romeo would be Ronald
Colman. He has fire, romance and sin-
cerity. Very truly yours,
C. Q. Gotshall,
153 Prospect St.,
Ashtabula, Ohio.
Honorable Mention
Richard Barthelmess and Mary Pick-
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spirit of youth and masters of its screen
technique. Both artists sincere and true.
Sweet and pretty and sixteen as any is
Mary, while something tells me charming
Romeo had beautiful dark eyes and a
lovable, crooked smile.
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Care W. G. Harvie,
"Dogwood Farm,"
Mattoax, Virginia.
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j
The Inside Facts About
the Extra
ntinued from page 17)
menial labor, then, no doubt, greater p
would come tn the i \ii .1
I have met at least five hundred persona
in the motion picture industry in the past
eighteen months. I have purposely talked
with "i interviewed these people, inside and
outside, everywhere, in ordei to u< 1 the
real truth as to yoiu chance in the movies.
I have particularly concerned myscli with
tin- problems of the extra character. I
tunately, 1 have closely observed the ways
and means ol the biggest men and greatest
mi the game today. But this does
not make me immune from error. Am
other extra charactei hail the same, or
almost the same, chance to put his or her
nations down on paper for the benefit
of his or her fellow workers, as 1 am
doing here.
Hut back to the subject.
The Element of Chance
r\o not be discouraged yet. I will give
^ you the sunny side in a moment. In
oar discussion, let us not fail to recognize
that there are always two view-points to
subject. The matter of chance is
simply being balanced by the weights of
de whose springs and point of accuracy
are so often uncertain, having no fixed
destination. Now read on.
It is true that there are hundreds of
people who get work. I have gotten lots
of it myself. But by no means is the
age up to a fairly good weekly salary.
Say, thirty-five to fifty dollars a week
would be a figure unheard of as an average
— it would really be a catastrophe for an
: to average this amount of money
tor one month straight. Of course, there
some men and women who <^et fifty to
five hundred dollars a day; perhaps they
work four or five days a mouth, depend-
ing on the person, the circumstance and
the picture. But we are only dealing with
the extra and the newcomer at present.
Let US assume, then, that you have joined
The Great Parade, whose carriers hear the
banners of the extra. In other wcn-ds, you
(are here in our fair land and are read) to
begin your journey for work. You have
turned your hack upon the rest of the
world (which is a grievous mistake) and
your heart is throbbing with the romantic
hope of the brilliant future ahead. Good
enough, that's the spirit, all right, but there
is a saying about ignorance being bliss, etc.,
etc.
You've just begun, we'll say. You have
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toward Culver City, where one of the larg-
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you are happy: the Mowers and the sun-
shine on a December morning will make
you that way.
As you enter the vicinity you see a
huge electric sign telling that your Golden
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there are huddled with deathlike g
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in a mass that only a machine gun could
disperse — much less you, who must get
thru that mob for a job.
But that's nothing, you join your fellow
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workers and add another struggle and push
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The Beginner
Quickly as a flash, the man's fingers
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name is not there. Well, you didn't know.
You are told to wait for prospects. Yes,
wait in case some poor devil is* late or is
trampled to death. But that never hap-
pens— there are too many ready to grab
a job accidentally left vacant. But you
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Henry V III. And you come to learn later
that the same face smiles and the same
hands gesture deep gratitude when the
paltry five dollars is given as a reward
for a day's work as an extra. Just an
extra ! Funny, isn't it ? And in the next
breath, while you are waiting ! waiting ! in
comes a regular Hollywood Sheik whose
white shirt is carelessly flung open about
the neck, whose hair is pasted back with
some glossy fluid. But he is tall and good-
looking ; he is smoking a cigaret nervously,
importantly and nonchalantly.
Your breath is taken, you are amazed,
by gad ! You recognize him, maybe you
do. Why, it's that chap who rescued
Gloria Blank Blank in Madame Glyn's
"Great Moment." No, it really wasn't,
after all — but he was a double for the
hero. For the real heroes do not enter
the studio that way — not often, at any rate.
However, the casting, or assistant casting,
director looks up and with recognition
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door swings open. All doors are elec-
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The Extra and the Phone
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ber often changes, due to trouble ome land
l.nli. - \ .hi knov\ what I mean But
■trangei things happen in the movies than
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But such is life in all us i".nU.
Final.) you land i job. Hurra '
sir, be thru th I 7 -;" \ M . made
tii> and "ii the l"t 01 set at 8 A M .
tumes furnished, That's youi call, Greal
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god di chance.
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actor. Never I Besides, suppose the di
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not be mentioned here. You'll know a few !
tricks of the trade by that time.
The Men at the Top
Dut by no means do I wish to give even
the slightest insinuation that the men
who are the executives of the movies are
wrong or in any way have the responsi-
bility for the creation of the great law of
compensation in the game.
Undoubtedly some of the finest men and
women in our land are highly associated
with the movies. We know that. Some
of the best people, morally, are holding
down responsible positions in a hundred
different departments of the great industry.
One could not meet finer men and women,
in any opinion. And this embraces the row
from producer to extra. And, of course,
one oftentimes will meet the opposite — so
it is in any walk of life. "The Movie" is
still a big baby — that's why a lot of people
love the screen.
To repeat, as in every walk of life,
we meet folks who are not so good — the
movies are not to blame for their share of
the minority. So, good luck to you, Mr.,
Mrs. and Miss Extra. As Billy Evans, the
famous baseball umpire, said, "The hours
are from three to five and the game is
always on the lookout for good, intelligent
and honest men." So it is with the movies
— the camera is on the lookout, too, and it
pays from three dollars a day to many,
many of them, as the case may be.
Flash Backs
(Continued from page 45)
most prominent of the footlight Virgins.
Our bet is that Gloria will get away
with "The Miracle" neatly. We dont
know who will direct, but Fritz Lang, the
man who made "Siegfried," would be a
good selection.
Now that Dolores Costello seems to
have arrived definitely as a potential star,
the usual discoverers are advancing their
claims. The Warner Brothers, the pro-
ducers, for instance, lay claim to her dis-
covery.
Actually, the credit goes to John Barry-
more. It is true that the Warners noted
a picture of the Costello sisters in a Chi-
cago paper when they were chorus girls
in a musical revue.
Small film roles were offered them — and
the two girls, daughters of the first film
idol, Maurice Costello, arrived in Holly-
zvood. Dolores began to play tiny roles,
those of maids and so on. Then Barry-
more reached the Coast to start work on
"The Sea Beast." The leading feminine
role hung between several actresses, but
Barrymore insisted upon the untried Miss
Costello for the part.
In this fashion came her first hit. Mean-
while, Dolores's sister is still playing ob-
scure parts. Thus luck in the movies.
FREDERICK JAMES SMITH'S
reviews of the current
motion picture dramas
appear exclusively in
The CLASSIC
Be sure to read his
THE CELLULOID CRITIC
each month!
86
Famous at Fifty
(Continued fi <>m pogt 31 >
time everyone had tlu feeling that he could
have been a whole lot better. It is tins
uragement that tires one with thi
thusiasm to give him more and bettei work.
"When we had finished the picture,
tsch said, 'See, Euldlc, 1 made you an
lishmau.' Because >>i his cheerful
me .it tn ^t wondci s n he knows
what lie is doing. It is not long before one
tnul- out. Lubitsch has thai artistic in
I that knows the right thing from the
wrong. He inoculates you with the scene
that you are amazed .it your-
on the screen. Vou begin to wonder,
did that man make me do that? I believe
that it I had a few more.- pictures with him
I would be a good actor.'
Martindel's Career
jV/f \RriNi>i i has been in the theatrical
business all his life, and says he hopes
to live to be a hundred that he might
tually learn all there is to know about
acting. His career has been mostly on the
legitimate stage in New York. He lias a
rich bass voice which may be remembered
by many who saw the New York produc-
tions of "Naughty Marietta" and "The
Firefly." Numerous other light operas and
musical comedies have his name on the
original cast sheets. His career in the film
realm has been varied. Eddie has worked
in everything from comedy and horse
opera to "lady Windermere's Fan," under
the direction of Lubitsch. It is in this
picture that he scores his first real bit in
the movies.
"When 1 was given the part of Lord
Augustus, I wondered it 1 hadn't been mis-
continued Eddie. "According to
Oscar Wilde's play, 1 could not understand
how I would fit the character. When I
came under the thumb of Lubitsch, I found
out. He had changed the character. He
understood what he was doing, and had
allotted me my proper niche in the cast.
During the filming of the picture I felt like
>ne of these light-hearted individuals who
breezes into a scene and out again with a
happy good morning and a hearty farewell.
It was delightful work, in fact, the hap-
piest work I have had during my six years
in pictures.
"When I came to Hollywood and the
picture business, I did not expect to stay.
I thought I would take my fling at the
movies and return to the stage. For six
years I have been working in the studios.
I have been cataloged. By that I mean I
have been placed as a character, going
down on the casting books as a typical
business man or banker type. Because of
my grey hair and my size I get the part of
the man of wealth. I wish the same parts
were wished on me in civil life. I lost one
job because I made up my mind not to
play bankers any more. I was called to a
studio and appeared with a couple days'
growth of beard, an army shirt and old
trousers. I lost the job. They wanted a
rich man . . . banker type."
Martindel is a big man of commanding
presence and aristocratic bearing. Another
great Hollywood rumor that he bemoans
is that most people think he is an English-
man.
Hails from Ohio
"I cannot understand why I create the
impression that I am English. I was
born in Hamilton, Ohio, and anyone who
has talked to me knows that I manipulate
my 'r's' like any good old backwoodsman.
I experienced the same thing when I was
working on the stage. When an English
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Martindcl admits he is forty-eight years
old. He's not a juvenile, but there are few
juveniles who appear more youthful. Six
years ago he came to Hollywood to play
with Earle Williams in "Captain Swift."
When he arrived, Eddie said he saw ex-
chorus men from New York riding around
in automobiles and buying houses. He
made up his mind to stay and get some of
the swag, if a mere chorus man could bowl
over such a heavy pay check. He has
succeeded in getting the house and the
automobile. How he ever did it, Eddie
says he does not know, for he has no con-
ception of business, despite the fact that
he plays the parts of American bankers. A
few weeks ago he discovered a salary
check which was dated 1922, and was made
out to him by the old Goldwyn company.
It was lying in the bottom of an old
wardrobe trunk. Fortunately, he was still
able to get it cashed. If nothing else, this
little episode should give out the impression
that he is not a base commercial artist.
Like Lord Augustus, he is the blythe young
blade of forty-eight who never counts his
pennies nor his dollars, but flits thru the
films playing the parts of severe bankers
and rich old moneybags of the business
world.
Renee Makes Good
{Continued from page 39)
leading roles, success didn't rush out to
Miss Adoree and throw its arms around
her neck. In the first place, Miss Adoree
was a stranger in a strange land, and the
fact that she married into citizenship
didn't make her any less a foreigner.
And then there were thousands of pretty
girls in Hollywood. Miss Adoree is not
a great beauty ; she is attractive, she is
magnetic and her face is alive and spark-
ling. But there are far prettier girls to
play pretty roles in little pictures.
So Hollywood thought she was awfully
lucky to get on at all and directors chose
her' for roles because she was amiable,
quick and easy to work with, rather than
because they suspected she had a definite
and unusual quality to bring to the screen.
Then came "The Big Parade" — and
King Vidor selected her to play the role
of Melisande, the French peasant girl who
falls in love with the gum-chewing dough-
boy. And when Miss Adoree began work
in "The Big Parade," she began to re-
member her life back in France, before
she ever heard of the movies. She forgot
her six years in America and all the
things she had learned that a movie heroine
must do, and she played the role the way
she felt it.
Renee Adoree's performance in "The
Big Parade" takes her from the ranks of
the confirmed second-raters — those who
merely "get by" — and puts her in the ranks
of those who belong. It was not merely
a role, played before the camera, it was
the summing up of a series of authentic
experiences.
Besides her work before the camera,
Miss Adoree played an important part in
the making of "The Big Parade." She
was one of Vidor's most valuable assist-
ants. It was Miss Adoree who supplied
the details of the scenes in the French
peasant home. It was Miss Adoree who
explained the .whole psychology of the
peasant tossed in the midst of unthinkable
chaos. Without her, "The Big Parade"
would have been a less vital, less sti-rring
picture.
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L
The Celluloid Critic
'.finii.i/ /
[orj I i i .i\ a, .i in m dirci loi I his
l i i . i \ .i nol * . 1 1 1 > hat iln 1 1 ii 'I .hi < nii i
taining satire upon the he man pi< tin
the grcal oj»cn ipai es, but, I am >• liabl)
informed) he n wrote the itoi > inti
present form. ( Ither *.•• ntli men ■>■■ i 1 1 1-
ram credit, thus fulfilling one "i 1 1 >»
unwi itltii law 1 ni tlu- i num. i.
The nighty popular l»i\ plays /■'(// Dona,
who goes West at the Instigation "i his
Blonde Inspiration, no other than 1
Ralston. Out where men are men, how-
. he finds that the West has changed.
Is and modern plumbing are now the
thing. All goes well until the Blonde In
ition decidt s tn go W est for a visit.
Then BUI and the boys have to hunt around
for mustangs, board up the bathroom and
hide the flivvers. Dix is excellent and the
whole effort is breezy and amusing. You
will like it. While 1 am on the subject,
let me suggest that you keep an <:■
I a Cava.
The Blonde Miss Joyce
"The Skyrocket," starring the much
talked-about Peggj Hopkins Joyce, has
a whole lot of what they called box-office
value. It is likely to do a land-office busi-
ness thruout America, I am told. Prob
ably it will.
The story itself is huilt from a novel
of movieland life by Adela Rogers St. John,
the local Edith Wharton of Hollywood.
It is the Story of a bathing girl extra who
ascends to the heights of screen stardom.
Then, in the glamourous confusion of fan
letters, billboard superlatives, bills and
general adulation, she loses her viewpoint
and almost loses the one man who cares
for her.
Like all of Miss St. John's stories, "The
Skyrocket" is said to he based upon a real
Hollywood talc. It is whispered . . .
But why repeat gossip. You can probably
guess the real life counterpart of Miss
St. John's Sharon Kinnii. Oddly, Miss
Joyce rather intrigues me as Sharon. Any-
way, she is very blonde and not at all un-
interesting. The direction of Marshall
Xeilan isn't very good. Mickey, I fear,
was more concerned with the injection of
a bitter thrust at certain people and things
than with his direction.
The question has been raised as to
whether or not "The Skyrocket" hurts the
Coast screen colony because it shows that
prohibition isn't being completely enforced
thereabouts. Well, what about it? To
ask fans to believe that everything is as
Will Hays would have it, is to ask them
to believe in Santa Clans.
Mickey Neilan Again
LIkki-: T can turn to another Xeilan el
"Mike." This, I believe, is the story in
which Mr. Xeilan originally was slated to
direct Mary Pickford. Then Colleen Moore
started work on "The Desert Flower" and
Miss Pickford changed her plans, fearing
a confiiction of pictures. Xeilan persuaded
Metro-Goldwyn to let him make the com-
edy with his discovery, Sally O'Xeil.
Mike is the eldest of three children.
The father is a comedy railroad section
boss. Mike foils a robbery and wins the
love of a young hobo. All this is done
after the fashion of the old Mabel Not
mand comedies, with Charlie Murray and
Ford Sterling as slapstick foils for Miss
O'Xeil. Far be it from me to say whether
or not Sally O'Xeil is a successor to
Mabel Xormand. Miss Normand, I must
admit, never won much laughter from
me. However, her screen comedy seems
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HOW TO ENTERTAIN
Plays, musical comedies and revues, minstrel
music, blackface skits, vaudeville acts, monologs,
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MIRRORS
Mirrors resilvered at home. Costs less 5 cents
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Street, Brooklyn, N. Y.
SHORT STORIES
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companies ; big pay. Details free to beginners.
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LaDelle, Box 557, Los Angeles, Cal.
in a fair way to become a legend and even
a tradition. Personally, I dont care for
Miss O'Neil. Her personality is too hard.
You can chip the laughs from her beaded
eyelashes.
In "Hands Up," Raymond Griffith dons
a silk topper of the Civil War vintage.
In fact, the brash Mr. Griffith plays a
spy who sets out to foil the attempt of the
Union to get gold from a Nevada mine.
Thus he hopes to save the Confederacy.
Griffith does a whole lot of foiling, in-
cluding taking the beads away from a
bloodthirsty Indian in a crap game, but
he finally falls in love with two girls. The
war ends, but Griffith cant decide. Then
Brigham Young drives by in a crowded
covered wagon. Griffith assists the two
girls into the wagon, headed for Salt Lake
City — and the picture ends. "Hands Up"
is hardly hilarious, but it has funny mo-
ments. Griffith knows his business as a
farceur, but the comedy seems long.
A No. 2 "Stella Dallas"
T dont know the original novel by Sir
Philip Gibbs, but the film version, "The
Reckless Lady," turns out to be a feeble
imitation of "Stella Dallas." Here is the
deserted mother caring for her daughter,
in the new background of the Continent,
it is true, but doing all the "Stella Dallas"
stuff. The scoundrel who has attempted to
seduce the wife finally jumps off a cliff—
really ! — and mother and daughter are re-
united with daddy. Altho Belle Bennett
and Lois Moran, the two players of "Stella
Dallas," play in "The Reckless Lady," the
piece doesn't register. It is just dull and
tedious. An observation of the two in this
new piece will lead you to give new laurels
to Henry King for his fine direction of
"Stella Dallas." With the same players,
Director Howard Higgin is helpless.
The leather medal of the month goes
to "The Ancient Mariner." This version
isn't wholly Coleridge's poem. Not by a
long shot. It seems that a wealthy rounder
is about to win a gal away from her
true love when an old sailor takes the silk-
hatted scoundrel aside and tells him the
story of "The Ancient Mariner." Dont
ask why. I cant tell you. The film adapta-
tion of the old salt's tale seems to concern
the Ancient Mariner, two symbolical fig-
ures labeled Life and Death, and a flock
of bathing girls. So the wealthy rake,
overcome by the bathing girls or some-
thing, renounces the girl to her true lover
and all ends well.
That Chaplin Complex
(Continued from page 56)
stand at the portals of the rich homes,
after having timidly knocked at the front
door, and, as a butler would approach to
let me in, the urge to seek safety in flight
was almost too strong to be overcome. I
felt that my feet were larger than any-
one's else, my arms were dangling, and I
was painfully conscious of the fact that
I might have a cockney accent, having
been reared in the streets of London.
Sometimes I was obsessed by a horrible
idea: What if I should lose part of my
clothing!"
Of course, the funny little man on the
screen does lose a part of his clothing.
It has happened before and it happens in
the latest picture, "The Gold Rush." And
by the way, if one may judge by their
reviews of this picture, the critics feared
that Chaplin might be about to bestow a
real personality- on his vague and elusive
little marionette. They expressed the be-
lief that here was a character study rather
than a farcical presentation. We, however,
had not felt that way about it. To us the
90
Ml III " I 111' ( ■■•III l\Ush" U.ls
much ■•! -i ny -'. ry a evet I here -^t 1 1 1
en him and the humans tin'
il divide.
'nc night I was invited to dine at the
|w,„, .I I upland's greatest a< tors,"
linued Mr. Chaplin, mentioning his
winch we shall nut. "I was shown
tin- library, lit- was rehearsing 'King
■ ,' hut 1 did nut know tli.it, and was
•mull agitated when he looked straight
■• and cried in agonized tones: 'How
rper than a serpent's tooth it is to have
a thankless child. Sit down.'
"1 sat down I s.u on the edge of my
1 was frightened. Kid spots danced
n he stared at me
:. Tremble, thou wretch, that hast
within tlue uudivulged crimes. An- you
unite comlorta
"Presently, the great actor's daughter
entered 1 was introduced. She looked
! said sadly, 'Mr. Chaplin, 1 never
your pictures.' That
didn't help a hit. Then we were seated
at the dinner table. There were hundreds
rkv and spoons and knives, it seemed
to me, at cither side of my plate. 1 wanted
j gaily, 'Let's use the brassic tor this
and attack m\ food with any one of
the implements I could seize first; hut my
hands were clammy with embarrassment.
1 just kept on drinking water; at hast the
rI.issc, were the same as the ones I was
Used to .it home."
Mr. Chaplin declares that it is difficult
to realize how many people suffer from
shyness and how often what is called
"upst i tneielx an aggravated form
ish fulness.
"'Success has spoiled him.' everyone de-
clares as soon as a man begins to be known
at all." resinned Mr. Chaplin. "It may
be, as it certainly was in my case.
a desire to shield oneself from a hurt. It
terrible thing to feel that you are
surely going -to be the most awkward and
stupid person at a party, that the others
have had advantages which you have not
had, ami that you are making yourself
ridiculous."
This sounds strange from the most famous
man in the world, a man who has been
treated like a king all over the world.
Why, Mr. Chaplin even gives other people
the credit for his pictm
"I never can say," Mr. Chaplin added,
sweeping toward a conclusion, "'Now I'm
.: to make a new film,' and tin i
ahead and make it. I have to receive my
inspiration from someone else. It was be-
cause I saw Edna Purviance as a woman
of Paris that I was able to work out that
Story. Jackie Coogan immediately sug-
gested 'The Kid' in every detail; and I
had no idea of making an Alaskan picture
until 1 saw Georgia Hale as a dance-ball
girl. 1 cannot make another one until I
suddenly see some character which inter-
ests me, and then I suppose I shall involun-
tarily weave a story around that character."
And there you have the origin of Charlie
Chaplin's contribution to the art of the
cinema — a nomad, a lovable mute dilettante,
his own inferiority complex, spread out on
the screen, a shadow for the whole world
to laugh at.
Like most sensitive and imaginative per-
. Mr. Chaplin is an egoist, and what
he has put on the screen is tin- thing that
he once feared he was; at least, in the
eyes of others. In the happy and prosper-
ous endings he now allows his down-
trodden hero, one can trace a dawning
complacency, a breaking up of complexes.
But Mr. Chaplin will, at least, we hope he
will, remain to the end what he is now —
a modest, whimsical, lovable person, who
is never quite happy, always a little dis-
trait and a little sad.
These are indeed ingratiating attributes !
CL*
Dont jump off that cliff -
buy a copy of The Classic!
Cure That Spring Fever!
Thci e are jusl t\\" ( ures for that
spring fever. Sulphur and molasses
and Tin Cj vssk I < >ne is old fash-
ioned, tin- other is the 1926 remedy.
Everybody likes motion pictures and
Tin Classic is the one de luxe maga-
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being the mosl beautiful publication
of the screen, it is the most intelli-
gently edited ami the most brilliantly
written. It is tree from fan hunk
and slush. It treats of pictures and
picture people accurately, brightly
and fearlessl) .
* # *
Glance over its list of contributors
and you will realize that THE CLASSIC
is the magazine of the screen. Eugene
V. Brewster, the founder of The
Brewster Publica-
tions, Frederick
James Smith, Agnes
Smith, Robert E.
Sherwood, Don
Ryan, Alice Tildes-
ley, Dorothy Donnell, Milton Howe, Verne
Kibbe, Sara Redway, Harriette Underhill,
H. W. Hanemann, Tamar Lane, Harry Carr. 1/
All big names in the world of motion pictures —
and they all write for THE CLASSIC — most of
them exclusively.
The May issue is going to be unusually bright
and attractive. There's a stunning cover of
Colleen Moore, redolent of spring. Tamar
Lane has written an article, FAMOUS BLUNDERS,
which is destined to cause a lot of talk. It relates
— fearlessly — of the notable errors made in
motion pictures, the big mistakes of business and
judgment which unmade stars.
Henry Albert Phillips will continue his inter-
views with famous European writers on motion
pictures. You cant afford to miss this!
Lya de Putti, the famous German star and
idol of Berlin, is coming to America. THE May
CLASSIC will present the first interview with .Miss
de Putti, secured in Berlin. You doubtless have
noticed that The Classic has been covering
German film activities thoroly and interestingly.
In Berlin TLIE Classic has scored one journal-
istic beat after another.
And some fifteen other sensational features!
A
'/
91
let Us Taste Life
While We May n
"Doushka," he whispered, "Life is so short.
Let us taste it while we may!" And the princely
stranger, who had suddenly appeared out of the
soft shadow of the warm, sensuous Egyptian
night, bent and kissed her lips.
She struggled against the intoxicating emotion
— tried vainly to resist — to push him away — but
he again gathered her into his arms and most
tenderly kissed her.
All power of movement seemed to desert her.
She only knew that she was wildly happy, that
this was heaven, and she wished it would never
end.
* * * *
Thus Elinor Glyn sets the stage and plants the
situation very early in her startling novel "His
Hour" — one of the 10 thrillingly dramatic stories
that you may now secure at an unheard-of low
price.
10 Great $2^2 Novels
by ELINOR GLYN
NOW YOURS
Think of it. Ten $2.00 novels — actually sold in
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Elinor Glyn's Masterpiece
But that is not all. Included in the 10 volumes
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regular bookstore price of this great work alone is
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How Can We Do It?
How can we give you a com-
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IF YOU
ACT NOW
Cloth with stiff board covers
— artistically stamped in
gold — finely printed from
FULL-SIZE PLATES on
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Send No Money
Simply mail the coupon and the books will be shipped to
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purchase, simply return the books within five days, and your
$2.98 will be promptly refunded. So don't put it off — but fill
in and mail the coupon — Now. The Authors' Press, Dept. 818,
Auburn, New York.
10 VOLUMES
Here They
Are
The Price of Things
Guinevere's Lover
The Man and The Moment
His Hour
Love Itself
The Reason Why"
Red Hair
The Point of View
The Seventh Commandment
And Elinor Glyn's
Latest Book
This Passion Called Love
THE AUTHORS' PRESS, Dept. 818, Auburn, New York
Please send me the set of Elinor Glyn's famous books in 10
volumes. On arrival I will pay the postman only $2.98, plus a
few cents postage, with the understanding that I may return the
books within 5 days if not satisfied, and you will refund my $2.98.
Name.
Address.
City State
IMPORTANT: If you may not be home when the postman calls,
send cash in advance. Also if you reside outside the U. S. A.
92
EDWARD LANGER PRINTING CO., INC.,
JAMAICA, NEW IOBK OITT.
•
'J-fow it is done in the {Movies
WATCH
ON THE DEALER'S COUNTER
(Boiri of the Splendot
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Echoed now from this fashion center
comes a delightful new mode. Now one
chooses her powder puff as a definite part
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powder puff — " Corail" — Gainsborough
bringsthis, fashion's latest offering, to you.
Color borrowed from the sunset; vc
lour of luxuriant softness, plus the other
attributes of quality so typical of Gains'
borough puffs — gives to this new Corail
an added chic. You'll love the coral color
from which it gets its name.
This and other Gainsborough powder
puffs come in sizes for every need, for
vanity, dressing table or bath. Corail
in velour only, prices 15, 20 and 25c.
Other puffs in wool or velour, prices
from 10 to 75c.
Peach Glow
( Gydinsborough
W POWDER PUFF
Orchid
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AY
Famous
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fkn^w
^TTU.
Peddy Joyce Talks on Men and Marriaoe
IP IE IR IF IE C T IL
IN ATU IR A IL
You'll like Pum-I&n T^ouge.
It is a charming aid to beauty.
At all Owl Drug stores and
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Address The Owl Drug Company,
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Even with this special bargain price we offer you 6 months to pay! Try our
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1 enclose $1 deposit. Send me the Silk Charmeuse Dress No. S-l. If I am
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I will pay $2.35 a month until I have paid $14.95 in all.
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THE musics playing and the
show's a-showing somewhere
near you! The crowd is there,
and trouble is not, and Para-
mount guarantees a good time.
With half the world asking for
more Paramount Pictures and
the other half seeing them from
Greenland to Cape Horn, who
wouldn't make them best!
Out of the house! — and into
the cast of life! — Paramount's
waiting for you!
See these Paramount Pictures and
You'll be a Paramount Fan for Life!
***
ADOLPHE MENJOU
mA Social Celebrity
With Chester Conklin and Louise
Brooks. Story by Monte Katter-
john. Malcolm St. Clair Production.
The screen's perfect lover has found his
perfect plot at last, beginning as Vil-
lage Barber and leading to Tonsorial
Dictator to the Four Hundred — ladies,
ladies all the way ! Every girl who ever
had her hair bobbed will admire
Adolphe's technique with the scissors
and learn some new tricks from the
most up-to-date beauty parlor she ever
saw!
Harold Lloyd
in
"For Heaven's Sake"
Directed by Sam Taylor. Here is the
prize surprise package of the season,
laughter, laughter all the way! This star's
pictures are produced by the Harold Lloyd
Corporation and released by Paramount.
Douglas MacLean
in
Thomas Meighan
in
'TheTSIewKlo
mdike" j£ j^
'That's My Baby"
Directed by William Beaudine. Imagine
riding in an aeroplane with a mischievous
kid on each side of you trying to make you
loop the loop! That's just one high spot
among hundreds in Doug MacLean's lat-
est and best.
Bebe Daniels in
"Miss Brewster's
With Lila Lee, Directed by Lewis Mile-
stone. From the comic story about Flor-
ida by Ring Lardner. Baseball 1 Sudden
riches! Sudden laughs!
Gloria Swanson in
"The
Untamed Lady"
With Lawrence Gray. Directed by Frank
Tuttle. Story by Fannie Hurst author of
*' Mannequin," the $50,000 prize story.
The untamed lady has a pretty face,
twenty million dollars and an ungovern-
able temper. Picture Gloria in that plot!
Richard Dix
in
Millions"
A Clarence Badger Production with
Warner Baxter and Ford Sterling. From
George Barr McCutcheon's "Brewster's
Millions." Bebe Daniels inherits one mil-
lion dollars with the promise of another
seven millions if she spends the first mil-
lion within one year!
'Let's Qet Married
■a
With Lois Wilson. Adapted by Luther
Reed. From "The Man from Mexico," by
H. A. Du Souchet. Directed by Gregory
La Cava. The fastest, funniest Dix farce
yet. If you saw " Womanhandled " you
know what that means.
^Paramount zrictur&s
Produced by FAMOUS PLAYERS-LASKY CORP., Adolph Zukor, Pres., New York City
"If it's a Paramount Picture it's the best show in town/
J
PRIZES TO BE AWAkDI-.n FOR REST LETTERS
MOTIOM />/('/< A'/
'IL^y
OCD
Vol. XXIII
MAY, 1926
No. 3
Notable Features in This Issue:
FAMOUS BLUNDERS
Immortal acreen ">|tn>|"— and theli costl) dan
HAS THE GREAT LOVER BECOME JUST A CELEBRITY?
rhc problem ol Rudolph Valentino and all mum Drawing bj K. k. t bamberlaiu
MEN
pkina Joy< •■ dl* Unity and matrimonj
MAKING "THE BIG PARADE"
King Vidoi tella the Inside facta behind the big production
HOW FAIRBANKS TOOK THE COLOR OUT OF COLOR
Minn Parker, the director, telli how "The Ui.uk Pirate" wai made
MORE IMPRESSIONS OF HOLLYWOOD
ditor-ln-chiel lella his experience* In the capital ol celluloldia
THE MOTION PICTURE IN JAPAN
A Famous Japanese critic Leila how the screen baa won cherry-blossom land
I. mi. a I. .mi- l'i
Don Ryun 20
'.i Redway 22
Froderii h /antH Smith 26
Dunham Thorp 28
Eugene V. Brewster 32
Kimpei Sheba 34
11-15
Heinrich Fraenkel 18
H. W. Hanemann 24
The Classic Gallery .
■l.i Negri, George O'Brien, Vilma Banky and Ronald i olman
The Toast of Berlin
l.y.i de 1'iiiii. famoua Hungarian screen beauty, is now in America
Silverscreen: The Model Movie Community
ell-known humorist discusses the Ideal film colony Drawings by Khz
"So's Her Old Man!" 27
A new stud) ol Dolores Costello
Cella Puts the Foreign Vamp in Her Place John Held, Jr. 30
The further adventures ol Mr. Held 'a bathing-girl heroine
Moana: A Poem of the Cinema. Matthew Josephson 37
A critical discussion ol Robert Flaherty a S.imoan classic
Joby from the Tennessee Hills Alice L. Tildesley 38
Jobyna Ralston has been Harold Lloyd's leading woman lor four yean
New Styles in Screen Girls Harry Carr 40
-iiion in film heroines changes often — Drawings by Eldon Kelly «
Pauline Starke (Portrait) 42
The Nation of the Happy Ending Francis L. Perrett 43
S Ernest Vadja, Hungarian dramatist now in Hollywood, describes America
Corinne Griffith (Portrait) •. t 49
The Northern Star Alice L. Tildesley 52
reen'a newest meteor, Greta Garbo, is a moody daughter of Sweden
Old Pictures in New Frames Sara Redway 54
Hayakawa Bays screen dramas .ire bigger now but they aren't any bettei
Came Spring 56
The minds of tilmdom turn lightly to thoughts of golf and tennis
Meet La Cava Dunham Thorp 62
liiny Richard Dix's new director, the latest film sensation
The CLASSIC'S Famous Departments
Flash Backs F. J. S. 44
Be sure to read this much-talked-aboul department in its enlarged form
Our Own News Camera 46
The incidents of the film world told in pictures
The Celluloid Critic Frederick James Smith 50
The new screen plays in review
Letters to King Dodo Don Ryan and Frederick James Smith 58
An amusing series .it letters upon the gossip of celluloid ia
The Answer Man 63
Cover Portrait of Colleen Moore by Don Reed
FREDERICK JAMES SMITH, Editor and Managing Editor
Alice L. Tildesley, Western Editorial Representative Colin Cruikshank, Art Director
Classic comes out on the 12th of every month, Motion Picture Magazine the 1st, Movie Monthly the- 15th
Snbscription $-'.50 per year, in advance, including postage, in the United Mates. Cuba, Mexico and Philippine Islands. In Canada $3.00; Foreign
Countries $3.50 per year. Single copies J5 cents postage prepaid. United States Government stamps accepted. Subscribers must notify us at
once of any change in address, giving both old and new address.
Published Monthly by Brewster Publications. Inc., at 18410 Jamaica Ave., Jamaica, N. Y.
Entered at the Post Office at Jamaica. N. >'.. as second-class matter, under the act 0/ March 3rd. 1879. Printed in V. S. A.
Eugene V. Brewster, President and Editor-in-Chief ; Duncan A. Dobie. Jr.. J'ice-President and Business Manager;
L. G. Conlon, Treasurer ; K. M. Heinemann, Secretary.
EXECUTIVE and EDITORIAL OFFICES. 175 DUFFIELD ST., BROOKLYN, N. Y.
Hollywood Office. 6064 Selma Avenue. Phone Gladstone 3564
Copyright, 1926, by Brewster Publications Inc., in the United States and Great Britain.
CLASSIC'S Late News PAGE
JOSEPH SCHENCK signs John Barrymore for
United Artists.
Reported that James Cruze is going to United
Artists after completing "Old Ironsides," now
under way, for Famous Players.
Plans for Gloria Swanson to do "The Miracle"
appear to be off. Morris Gest is asking $200,000
for the screen rights to the spectacle and the
interests behind Miss Swanson's coming United
Artists activities look upon this as too high.
George Bancroft playing prominent role in
"Old Ironsides." Esther Ralston has lead.
Dorothy Gish returns from California visit with
her sister and departs for England to begin con-
tract with British National Pictures, Ltd.
Eleanor Boardman playing opposite Jack Gil-
bert in Rafael Sabatini's "Bardelys the Magni-
ficent," now being directed by King Vidor in
California.
Sally O'Neil playing opposite Ramon Novarro
in "The Heart Breakers," directed by Hobart
Henley.
Mary Pickford has changed the name of Mary
Pickford Forrest, daughter of her sister, Lottie,
to Gwynne Pickford. Gwynne was adopted some
time ago by her grandmother, Mrs. Charlotte
Pickford. Little Gwynne went to Europe re-
cently with her illustrious aunt and uncle.
Jobyna Ralston, subject of an interview in this
issue, was loaned to the M. C. Levee-First National
production. She plays the leading role opposite
Jack Mulhall in "Sweet Daddies." ,
George Sidney selected for David Warfield's
role of Simon Levi in William Fox production of
"The Auctioneer." Frank Borzage directing and
Madge Bellamy playing the femitiine lead, done
years ago behind the footlights by Antionette
Walker.
Work started by
Director Mauritz
Stiller on Ibanez's
"The Temptress,"
starring the highly
promising Greta
Gar bo. Antonio
Moreno plays op-
posite Miss Garbo.
Josef von Stern-
berg, the maker of
the ill-fated "Sal-
vation Hunters,"
is back at work
again. He went to
Europe after his
break with Metro-
Goldwyn and now
has returned to
work, making "The
Sea Gull," starring
Edna Purviance,
for Charlie Chap-
lin. Chaplin, it
would seem, still
believes in the
erratic von Stern-
berg.
Alia Nazimova
returning to stage.
LAST MINUTE REVIEW
"The Black Pirate"
"Fifteen men on a dead man's chest,
Yo-ho, and a bottle of rum."
Buccaneers, cut-throats, desert islands, black flags, captive
princesses in despair, boats scuttled on lonely seas, prisoners
walking the plank — they're all in Doug Fairbanks' newest effort,
"The Black Pirate."
There is a fine boyish spirit to "The Black Pirate." Here
is a rampantly wild tale told with a superb sense of youthful
exaggeration. It is the great imaginary adventure of boyhood —
the sort of thing that for generations has set boys building
rafts on old mill ponds. "The Black Pirate" isn't just an in-
teresting experiment in subdued color photography. Actually,
it is a much finer thing. It is a roystering adventure pictured
thru the eyes of a boy.
The black pirate sets out to avenge his father's death at
the hands of sea marauders. He masquerades as a pirate — and,
of course, outwits the whole brood. There is a superb incident
where the black pirate, in his false role, demonstrates how he
can capture a merchantman single-handed. He puts the rudder
out of commission and slides down the sails, ripping them to
bits with his sheath-knife.
Doug never had a better role than the Black Pirate. In
fact, he never had a better picture. A great deal of the credit
should go to the director, Albert Parker. Here is direction
superb in its directness and simplicity, capturing and retaining
the fine spirit of youth. It ought to put Parker at the top of
the directorial heap. F. J. S.
Cecil De Mille planning big million-and-a-half
dollar special to be made during the coming year.
Announced this during New York visit. Believes
he has biggest bet of the screen in William Boyd.
Report that Mary Pickford may make a picture
during her European trip with Doug. Said to
have negotiated with Ernst Lubitsch to make the
picture in Germany.
Mae Murray signed again by Metro-Goldwyn.
Sam Taylor has ended five years directorial
association with Harold Lloyd. His last comedy
for Lloyd was "For Heaven's Sake."
Buster Keaton has completed his Metro-Gold-
wyn contract and all future comedies will be re-
leased thru United Artists.
Doug Fairbanks' "The Black Pirate" is a big
New York hit. Biggest advance sale of any Fair-
banks picture yet produced. Apparently a London
hit, too, judging from the critical notices of the
English press.
W. C. Fields' first Paramount starring comedy,
"The Old Army Game," filmed at Ocala, Florida,
with Eddie Sutherland directing.
Charles Brabin signed by First National to
direct Doris Kenyon in "Mismates" for First
National. Picture now being made in New York.
D. W. Griffith's "Sorrows of Satan" under way
at last with Adolphe Menjou, Carol Dempster,
Lya de Putti, Ricardo Cortez and Marcia Harris
in cast.
Fred Niblo returns from European trip. Re-
ported that he will direct Norma Talmadge in
her revival of "The Garden of Allah."
Ann Nichols, author and producer of the stage
success, "Abie's Irish Rose," announces suit
against Universal Pictures claiming that "The
Cohens and Kellys" strongly resembles her play.
Clarence Brown
selecting his cast
for the Metro-
Goldwyn specta-
cle, "The Trail of
'98."
Harry Langdon
visits New York.
Victor McLag-
len gets coveted
role of Captain
Flagg in Fox pro-
duction of "What
Price Glory."
Conrad Nagel
and William
Haines renew con-
tracts with Metro-
Goldwyn.
Jean Hersholt to
play in new von
Stroheim picture
and then to go to
Fox for a David
War held role.
Harold Lloyd in
New York for rest.
Has called off plans
for building elabo-
rate Beverly Hills
residence.
6
\?{ameless -homeless ~Kiki!
^nothing could stop herf
|UT of the dust of the gutters — into Paris' frenzied whirl <>(
riches anil romance .... all in one daz/lmg hound!
Yesterday nobody .... today KIKI — darling
of a delighted audiemi .
Then luxury and love almost within her
grasp! .... Can Kiki reach them — and keep bet
impish child-heart happy and unstained?
It's a breath-taking gamble — that last
desperate ruse of Kilci's. Your eyes won't
leave the screen — you'll forget the folks
around you — as you follow plucky, ador-
able Kiki's amazing fortunes to their
climax of cleverness.
Norma Talmadge's t
greatest success^
A brilliant screen production of the
famous Belasco play which ran two
years on Broadway. Great supporting
cast including Ronald Colman.
"No other actress on the cinema
today cou Id play this character with
the artistry and faithfulness of in-
terpretation that Norma has put
into the role.*'
David Betatco
"I never made a picture
I like better."
'Norma Talmadge
fjl l I l* I I I* J
q) Picture
THEY SAY
San Francisco, California.
Editor, Classic :
In a recent issue of The Classic you
have an article : "What Counts at the
Box Office." In this article you call
attention to the fact that "There are a
lot of players of mysterious popularity,
difficult to define." Particular mention is
made of Milton Sills and by inference
Conway Tearle and Thomas Meighan are
included in the same category.
Then in another part of the magazine
is an article, "Simplicity Is Being Paged."
Does not this article explain and define the
question propounded in the former article.
Dont you think, just as the public is de-
manding more simplicity and realism in their
pictures, they are also demanding the same
thing in those who interpret the pictures?
Once upon a time not so long ago moving
pictures as a form of entertainment were
almost the exclusive prerogative of women
and more particularly the very young
women or the older and more disillusioned
ones.
Times have changed. The saloon is gone.
So is the cafe. Only the man of wealth
can afford clubs. Therefore the ordinary
man, the everyday fellow in the street, has
had to find some way to pass his evenings.
Some have found the radio a means of
passing their evenings. Still more, and of
these I am one, and I believe a typical
one, have become movie fans.
This trend of men toward the movie
theaters has been evolutionary. The movies,
however, have not exactly kept up with
these changing times and changing class
of audience. That is, not until lately. Now
the change is beginning to work almost
without their knowledge and they do not
seem to realize what it means.
Well, to me it seems simple. Sills,
Meighan, Tearle, Wallace Beery and such
players are just every-day sort of men —
that is, men such as you and I. Possibly
I take a liberty in classing you with the
rest of us, but you are a newspaperman
even as I, and I have found that news-
papermen the world over are pretty much
the same.
Now look about you. Have you any
friends that look like or act like Valentino,
Novarro, Cortez, Lou Tellegen, Charles
De Roche or any of the other Mexican,
Spanish, Italian or metamorphosed
Jewish boys who for so long have
been the "heroes" and sheiks of
the films ?
But surely among the doctors,
lawyers, businessmen and other
ordinary mortals whom you know
you can recall a double of either
Sills, Meighan or Tearle. Tearle,
during my work as a newspaper-
man, I have met. I found him
just a regular unaffected human
being. Sills and Meighan I have
never met personally.
Now as for the acting of these
players. Stop and think. Take
the man whom you know who is
the double of any of these players.
Does he not in a given situation
act just about as they do on the
screen. In other words, does it
not occur that their unaffected,
natural way of carrying them-
selves— they do not act — carries a
greater semblance of reality to grown men
than does the sheik stuff that the Latin
"actors" try to foist upon a too credulous
world ?
Dont you think that possibly movie maga-
zines give too much credit to the gushing
letters which they receive from the flapper
admirers of these so-called sheiks? Do
you really believe that young girls are in
the preponderance among movie audiences?
Of course, I never have the opportunity
to go to a movie in the afternoon, but I
do attend at least two evening performances
a week.
And what do I find ? That the audience
is about evenly divided as between men and
women and that the flapper type is greatly
in the minority. In fact, such as I see
of them there, judging by their interest in
the various acts of the program, are more
interested in the contortions of the so-called
director of the "Super-Jazz Soloists" who
stands with his back to the audience and
beats time with his hips and knees than
they are in the feature picture.
Therefore, do not overlook the fact that
men have become a real factor in the popu-
larity of any given picture or actor. After
dinner the wife or the sweetheart suggests
a movie. She wants, in many instances, to
go and see one of the sheiks because he
has such languishing eyes and they just
thrill you thru when he gives the heroine
a hypnotic glare.
Hubby, however, is all fed up on this
stuff. He is not jealous, as some people
think. He just is a realist. He never saw
any sheiks in actual life. He thinks sheiks
are the bunk. He prefers to see Tommy
Meighan, Conway Tearle or Milton Sills
win the loved one in the real old-fashioned
ordinary way. Dont forget, men are just
as romantic, if not more so, than women.
They, however, want realism with their
romance. They want the kind of romance
they can believe in. They want to forget
their humdrum business cares and the lack
of joy in this blue, dry land. But it de-
stroys their sense of romance to unreel
before them an impossibly pretty boy
taking the world and the hearts of all the
ladies by storm with such action and such
a manner of making love as was never seen
either on land or sea.
THE MOTION PICTURE CLASSIC is
going to devote a page each month to the
best letters from its readers.
Fifteen dollars will be paid each month
for the best letter, ten dollars for the second
and five dollars for the third. If two or
more letters are found of equal merit, the
full prize will go to each writer.
Letters must be constructive and inter-
esting. They must deal with pictures or
screen personalities. And — please note —
they should be typewritten.
So please give us ordinary, every-day
men a little consideration also in the future.
We like the movies, we want to be enter-
tained, but we want life to be depicted
somewhere near as it is — that is, real life
just smeared over with sufficient romance
to make it interesting and real men to
portray it for us.
As for the women, I have little to say.
Leave them, with the exception of Mae
Murray, as they are, God Bless Them. We
want them to be exotic, different, strange
and mysterious. In other words, just the
opposite of the men and with all of those
attributes which we do not want in the
men.
As for Miss Murray, cannot you use
your influence to have her stop pouting
her lips and posing all over the scene like
a dressed-up doll ? Because she is, for
some unexplained reason, sometimes cast
in real pictures, we have to see her. Voicing
the opinion of all of my men friends, it
is painful to say the least.
Sincerely,
Edwin Myers.
San Francisco Bulletin,
San Francisco, California.
1467 Sixth Avenue,
San Francisco, California.
Editor, Classic :
I have just read an article in the Classic
for February. The article closes with the
following sentence :
"The Classic is in favor of the old-
fashioned film theater at decent admission
prices. We would like to know what our
readers think about it."
I have not been appointed by many of
my friends to tell their opinions, but I
know what they are, nevertheless. We
most emphatically are in favor of a theater
where FILMS are shown; not a higgledy-
piggledyr combination of cheap vaudeville
and a picture, cut in half or three-quarters,
separated by an hour's parade of cheap
singing or worse dancing, so that one com-
pletely loses the thread of the story, all
interest.
Our big theaters have been getting worse
and worse, to our way of thinking.
Admission is fifty cents. The fea-
ture picture is just an hour long.
There are screeching females, al-
most bare; there are child WON-
DERS, singing "I'm the Hottest
Baby in Town" ; there are dancers
who leap around the stage with
no clothes on, and no art, not
even talent. We sit thru all this.
Then we decide that "this week
we wont go down-town. We'll
go to the neighborhood thea-
ter."
Ye gods, they're bitten, too.
Either it is a grocery-store night,
and we have to wait one-half
hour while sugar and rolled oats
are handed to the winner of the
door prizes; or the KIDDIES'
REVUE tortures us for another
half hour. We want a picture
house. Yes.
Ed. Blakey.
8
CECIL BDeMILLES
PRODUCTION
%eVOLGA
BOATMAN
By LENORE J. COFFEE
Adapted from Konrad Bercovici's novel
w,THWILLIAMBOYD, ELINOR FAIR,
VICTOR VARCON I, JULIA FAYE.
and THEODORE KOSLOFFn
CECIL B. DeMlLLE
the Master 'Qenius
who thrilled the world
with "The Ten Com-
mandments" surpasses
himself in this inspired
production.
AGAIN the master magician De Mille has waved
the magic wand of his directorial genius and
brought to life on the screen a mighty, epochal
drama that sounds a new and triumphant note in
the history of motion picture entertainment.
Brushing aside the cobwebs of motion picture tradition, he has
approached the subject of the Russian reign of terror with a sympa-
thetic and human understanding. In "The Volga Boatman" is
depicted the heart-beat of a nation in revolt— pulsating— human-
dramatic— irresistible.
And from this maelstrom of flame and strife emerges a heroic and
sublime story of love and devotion involving a Prince, a Princess
and a Volga Boatman. Never in the history of the cinema has
there been depicted a more fascinating, thrilling and never-to-be-
forgotten theme— A Veritable Achievement.
RELEASED BY
PRODUCERS DISTRIBUTING CORPORATION
F. C. WLNROE. Prt.J.m RAYMOND PA WUY. Vkc-Frndml u«l Tm«um JOHN C. FUNN. Vlc-F™kl<m .~J Ckotril M.i>«rt
IBANEZ'
TO R R F
Ibanez' Torrent! Rushing flood of mighty emotion
Sweeping us on — ever on — breathless . . .
Ricardo Cortez — dashing — gallant— torrid ....
Greta Garbo — Perfection!
Discovered by Metro-Goldwyn-Mayer in stark Sweden-
She is setting the heart of America aflame!.
Monta Bell is the director.
You positively musn't miss Ibanez' Torrent!
A Cosmopolitan Production
Scenario by Dorothy Farnu?n,from the novel by Vicente Blasco
Ibanez. Titles by Katherine Hilliker and H. H. Caldwell.
"More Stars Than There Are In Heaven"
10
Ruth Harriet Louise
GRETA GARBO
MOTION PICTURE
MAY, 1926
POLA NEGRI
Harisook
GEORGE O'BRIEN
£
VILMA BANKY
Melbourne Spurr '
Melbourne Spurr
RONALD COLMAN
Hoover
The most famous of early blunders was
made by the Biograph Company when it
gave the wizard, D. W. Griffith, his re-
lease, rather than grant him a small
increase in salary
BY Their Blunders Ye Shall Know Them."
These few words, paraphrasing a well-
known proverb, sum up to a large degree
the successes and failures of most of our film
personages and companies.
The Blunder Mile-Stones
o blunder is human, and the careers of nearly
all of our famous stars, directors and produc-
ers are marked with blunders of one sort or an-
other that have played an important part in their
professional lives.
In many cases it has not been the blunder itself
which has had such a disastrous effect upon their
T
William S. Hart made the mistake
of quitting the screen at an inoppor-
tune time. In his absence Tom Mix
and others stepped into the limelight
Famous
By Tamar Lane
careers, but the celebrity's failure to perceive quickly the effects
of his blunder and take drastic steps to offset it by corrective
measures.
Blunders have been in vogue with the motion picture world
almost from the very inception of the industry. In fact, hardly
a year passes that one or two of our most prominent film person-
ages do not commit a faux pas of some kind which does them
great and lasting damage. This is but natural with such institu-
tions as the screen or stage, catering as they do to the fickle public.
The Griffith Blunder
Ane of the most famous of early blunders was that made by the
Biograph Company when it gave the wizard, D. W. Griffith,
his release, rather than grant him a small increase in salary.
Griffith was then in the heyday of his career and had built the
Biograph Company into the greatest film organization of its time.
The advance in salary which Griffith had demanded would have
amounted to a few thousand dollars in the course of a year. By
not granting it to him Biograph Company eventually lost millions.
When Griffith left the concern, along with him went not only most
of the firm's most popular players, but the. master mind which
had been really responsible for the company's success. After
"D. W.'s" departure, Biograph went rapidly into decline until
finally it passed entirely out of existence.
Vitagraph was another of the old companies whose successful
career was vitally affected by lack of foresight and poor business
judgment. At one time Vitagraph had what many consider the
greatest aggregation of screen favorites the film industry has ever
known. This was in the day of the one- and two-reeler.
Vitagraph's decline came with the arrival of the feature-length
photoplay. The Famous Players-Lasky had just come into exist-
ence and were presenting famous Broadway stars in films pro-
duced on a more lavish scale. The five- and six- reel pictures
featuring famous stage stars quickly became the vogue. Vita-
graph failed to see
the importance in
the new trend of af-
fairs and stuck to
its old policies.
Vitagraph's Error
"The company's
*■ films soon lost
their popularity
with exhibitors, be-
cause they could not
compete with the
elaborate produc-
tions being pre-
sented by Famous
Players-Lasky and
other new com-
panies that had
rushed in to offei
features. Vitagraph
finally saw its mis-
take and took hasty
steps to get into the
swim. But it had
waited too long and
never regained its
lost prestige. Vita-
Rudolph Valentino's mistake was
in allowing the term of "sheik" to
become too firmly attached to him.
He is still suffering from this term
16
Blunders
Immortal Screen Mistakes
graph also erred in releasing several of its best players, rather
than raise their salaries.
Other Company Mistakes
"The other famous film concerns of bygone days, Edison, Lubin,
' Essanaj . Selig, Kalem, etc., all fell by the wayside thru the mis-
take of adhering to ancient policy, instead of keeping abreast of
changing conditions.
Generally speaking, film concerns rise or fall upon the strength
or weakness of the personalities in their organization. Producers
must know just what stars and directors to hold onto, and just
which ones to release. This requires both analytical powers and
foresight, two qualities which are noticeably lacking in most pro-
duction outfits.
Conversely, stars and players, rise or fall thru their ability to
perceive what companies to remain with and what companies to
abandon, when a contract terminates. Many players have made
the fatal mistake of quitting a company or producer merely be-
cause a little "more money was in immediate sight, when they
would have profited more in the long run by remaining with the
outfit that could have carried them to greater success.
Ray's Famous Blunder
Charles Ray's quitting of Thomas Ince is marked down in
film history as one of the greatest blunders ever made by a
star. At the very height of his career, Ray deserted the Ince
guiding hand to shift for himself. In spite of his tremendous
popularity and talent which amounted almost to genius, Ray was
never able to make a go of it on his own hook. One or two of
his independent efforts were successful, but slowly and surely he
slipped farther and farther down the ladder, until finally he was
forced to return to the Ince banner. Misfortune continued to
dog his footsteps however ; Thomas Ince died, and his company
also passed out of existence. Ray is now trying to stage a
comeback with
M-G-M.
Dorothy Dalton
was another noted
star who tried to
leave Ince's guiding
hand, and failed.
Dorothy maintained
her popularity for a
short time after
leaving Ince, due to
the prestige she had
gained while work-
ing under the Ince
banner, but a year
or two later she
passed off the screen
entirely.
The Case of Mae
Marsh
Ceveral players
made the blunder
of leaving D. \V.
Griffith. Mae Marsh
is the most noted
case. Under Grif-
fith's direction Mae
Carsey
Nazimova blundered into the idea
that she was not only a great actress
but a great producer, director and
business woman combined
Spurr
Many are of the opinion that the greatest
blunder in recent years was Cecil B. De
Mille's cutting loose from Paramount — in
taking so much responsibility upon his
own shoulders
Marsh gave performances that were rated among
the finest in the annals of the silent drama.
Away from his megaphone her portrayals were
but mediocre. There were many who predicted
that Lillian Gish would rapidly decline after
leaving "'D. W." While Lillian by no means has
done as fine work in the past two years as with
Griffith, nevertheless, she has succeeded in hold-
ing her popularity to a great extent. It will take
one or two more films to ascertain definitely
whether Lillian has blundered or not.
Richard Barthelmess, another Griffith protege,
is one of those who set out for himself and made
(Continued on page 79)
Charlie Ray's quitting of Thomas
Ince is marked down in film history
as one of the greatest blunders ever
made by a star
17
The
TOAST
of
BERLIN
By
Heinrich Fraenkel,
of Berlin
Lya de Putti really comes of the Hungarian aristocracy. Her
father was the Baron Hoyos von Biixenstein, and she herself
was married to a Hungarian baron
A LTHO not yet twenty-five years of age,
A-\ Lya de Putti can boast of being the
most fiofiular of aJJ European film
actresses at the present moment.
Hers has been an adventurous and interesting
career. To begin with, Lya de Putti is her real
name, ahho most fieoftle consider it far too well
sounding to be real. But it cant be helped. It
is so. And she can firove it documentarily if
you would dare to doubt it to her face — which
I am sure you wouldn't.
As a matter of fact, she comes from one of the
best families of
Hungarian aris-
tocracy. Her
father was the
Baron Hoyos
von Biixenstein,
and young Lya
was married to
Baron de Putti,
Colonel in the
Hungarian
army, just be-
18
Dunky, Fivertlc
The earliest existing picture of tne fair Lya
(right), taken with a playmate in Hungary
Lya de Putti is not yet twenty-five.
Her father was a Hungarian baron. At the age of sixteen
she married the Baron de Putti, a colonel in the Hungarian
army. Her married life was brief. At eighteen she married
again — an attache of the Norwegian embassy in Berlin. Her
husband died two years ago.
She was discovered by Joe May, the German director, while
dancing in a Berlin music-hall.
fore her sixteenth birthday. She was not mar-
ried for a Jong time, however, and, ahho her
family kicked uj> a considerable row about it,
she insisted on going in for a dancing career
on the stage.
In her eight-
eenth year she
lived in Berlin
and married an
attache at the
Norwegian em-
b a s s y. Inci-
dentally, this
was more or less
responsible for
her future
LyadePutti,
the Famous
Hungarian
Screen
Beauty, Is
N o w i n
America
At the right, an interest-
ing study of the Hun-
garian star as she ap-
pears in "Vaudeville"
with Emil Jannings. Be-
low, as Manon Lescaut in
the recently completed
German film production
of that name
Photos by Binder, Berlin
screen career. She wished to join her
husband, who was staying in Norway at
the time. In view of the Hungarian
revolution, however, she could not go
back to Budapest to get her vise and,
having to stay in Berlin much longer
than she had expected, young Lya ac-
cented an offer to dance at a leading
Berlin music-hall.
Here she was "discovered" by Joe
May, the famous German film producer.
He instantly recognized the immense
screen value of her beautiful face and
gave her a good f>art in the picture he
was just embarking on: "Das Indische
Grabmahl," which has also been shown
in other fiarts of the world under the
title "The Indian Tomb."
It was a tremendous success for the
young debutante and offers to star in
■pictures were virtually showered ujion
the youngster, who had hardly dreamed
of going in for screen work.
An Amazing Career
AS a matter of fact, she was launched
•£*• now ufion her amazing career.
Since "The Indian Tomb," she has
worked in at least three or four pictures
a year and, as befits her strong energy
and restless temperament, has hardly
ever had any sjtare time except a week
or two in between her films; especially
{Continued on page 73)
19
Has the
GREAT
LOVER
A
By Don Ryan
ND yet, Rudolph Valentino, ne Gug-
lielmi, is a very creditable actor.
Rudy is going to
resurrect the sheik
in the hope of again
climbing back to
public favor
Audiences are strange birds, as Valentino
has found. America will fondle a movie
actor, but its embrace is half mockery, like
that of the grubby little cash-girl of the
department store, who gives herself gig-
gling into your arms.
She is kidding. America is always kid-
ding like that. Valentino acts for it, but
America doesn't care for any. It craves
him for a public character.
And yet, Valentino is really a very
creditable actor.
Rudy and American Men
Oe used to be, if we may believe the
various stories, a bus boy in a hotel.
He was earning his living in a new country,
having come from Italy to make his for-
tune in America. Many compatriots of
high and low degree have been bus boys and
bootblacks in America. Why not ? I know a
count, who drives a laundry wagon.
But the men of America dislike Valentino.
They like to say, when they are
compelled to sit beside their
dames and see the fire and grace
of Valentino as a lover — they
like to say, "Once a bus boy, al-
ways a bus boy."
They also like to sneer at Val-
entino as "Vaselino." Then they
sneak home and rub more grease into their own
stubborn cowlicks in futile emulation of the
shining sheik.
It is Valentino's misfortune to have been the
innocent cause of more fads than any man since
Volstead. Sideboards (miscalled side-
burns), peon pants (the wide-bot-
tomed corduroys since supplanted by
those that are wide all the way up),
the very word sheik, applied to pubes-
cent lovers — such are his contribu-
tions to the transient
foibles of youth. As
these fads go out of
fashion, Valentino like-
wise goes out. He has
to swim hard against
20
Become
Just a
CELEBRITY?
Drawings by K. R. Chamberlain
the current to keep abreast of his public, which is
more interested in his divorce cases than in his screen
performances.
And yet, Valentino is quite a good actor.
It is no longer smart to live in Hollywood. I sup-
pose you know that ? So Valentino lives in a stucco
house on a minor peak of the Beverly Hills, sur-
rounded, for his immediate neighbors, by Jack Gilbert
and Frances Marion.
The place is approached by a winding road going up,
up, till it seems about to lose itself in the rain clouds
hanging low above the hills, and then ends within the
walled enclosure of the mansion.
From the wide window of Valentino's library the
hills are seen to raise their backs below — dark and
glistening in the recent deluge, like seals just risen from
the sea. Far out, on the plain, the lights of the city are
warm, yellow. The
red roof of his stables
Wax man
Valentino has been the cause of more fads than any man
since Volstead
is straight down at the base of the greater eminence.
In the stables Valentino has quartered five horses and
about the same number of dogs. Most of his leisure
time is spent with them. He has the taste of a country
gentleman in these things. (Continued on page 69)
What good was it that he could
sell more autos than the rest of the
sales force put together? Beside
this sleek-hair son of Satan he was
an oaf
CWIa u.,.
21
Peggy Hopkins Joyce has just stepped from the
newspaper front pages to the screen in "The
Skyrocket"
(In the March issue of The Motion Picture Classic
Adolphe Menjou told what he thought about Women.
Mr. Menjou spoke as an authority, at least cinematically
speaking. This month Peggy Hopkins Joyce tells what
she thinks of Men. And Miss Joyce may be considered
an authority!)
THE lecture hall is crowded. Professor Ennelbesser
has just finished his brilliant lecture on ichthyology.
"And now if there are any questions you wish to ask,"
he adds in conclusion, "I will be glad to answer them."
Someone helps the oldest lady to her feet. "I have a
question to ask, Pro-
fessor," she says in a
quavering voice.
The Eternal
Question
The professor is
1 flushed with pleas-
ure. He has reached
the peak of his career
after a lifetime of
study. He has fol-
lowed fish from
North Pole to South
studying them care-
fully, and now he
feels that no matter
what the question is,
he cannot fail to know
the answer. "Certain-
ly, certainly, my dear
Madame," is his kind-
ly reply. "What do
you wish to know?"
The old lady ad-
justs her ear trumpet in order to hear more clearly what
his reply will be. "Well, I want to know just what you
think of marriage as an institution,"' she trembles. "My
22
M E
nephew has been going to see a young lady lately "
But there is a sharp retort. The professor has beaten
himself unconscious with the jaw-bone of a whale.
And so it goes. If a banker after years of sacrifice and
toil, years of wearing rubbers to save the wear and tear
on his shoes, so far forgets himself as to talk about bank-
ing at a dinner-party, he is labeled an old bore, and in the
future is left severely to himself to eat his crackers, milk
and a baked apple in the gloomy silence of his own dining-
room. But let him talk about women, brilliantly or stu-
pidly, and even the most correct salad fork will pause on
its way to the mouth.
Moving pictures, magazines and books tell us how to
hold our husbands or our wives. But they dont tell us
how to lose them. The most popular column in the news-
paper begins, "Dear Miss Banana Oil : For two years I
have been keeping company with a young man four years
my senior. He seems to like me, but whenever we go out
he wears a false mustache. What shall I do?" And the
answer always comes, "Keep his respect, my dear, and he
will tire of the others and eventually return to you."
But there is so little good advice on men, so little au-
thentic news, that most of us are content to rely on a good
pack of fortune-telling cards to tell us, "Be true, he is a
good friend."
For pretty girls, beautiful women, will not talk about
men. They leave all that to visiting celebrities, for they
are too busy with their own affairs to generalize, too much
a part of the world's romances to get a perspective on love.
But every now and then, there is a famous beauty with
intelligence, and she will have a few ideas on what is
wrong with the picture, and why four out of five of us
are psycho-analyzed before we are forty.
Probably most of you have not seen a picture called
"The Skyrocket" yet, and therefore you have not seen its
star, Peggy Hopkins Joyce. Miss Joyce is a lovely blonde,
slender, with blue
eyes, and a large
thickly coated aura of
romance and charm
enveloping her. And
having reached the
heights of moving
picture stardom, she
must be submitted to
the acid test, "What,
Miss Joyce, do you
think about men?"
Says Peggy Hopkins Joyce :
"I think it is very obvious that men have changed.
"Financially, women have been forced from the home.
Twenty-five years ago a girl helped about the house spas-
modically until she got married. Once married, her role
changed only slightly. The house was still her setting.
"Now a girl goes to work at seventeen or eighteen.
She is thrown with all sorts of men. Her judgment
grows sharper. She learns the value of money, so her
demands grow larger.
"I believe in marriage. It is absolutely necessary, of
course. It is the world's greatest convention. We do
it to please our mothers, our friends, ourselves, but it
seems to me that right now something is wrong with it."
Men Have Changed
"Of course> * cant
very well say
anything general
about them," Miss
Joyce replies. "But I
think it is very obvi-
ous that men have
changed. I dont mean
in your time or in my
time exactly, but it
seems to me that with
all the discussions about the women of today, there ought
to be at least one word said about the man.
"Recently women have been cast into a part formerly
In a recent
Classic,
A d ol p he
M e n j o u
talked
about Wom-
en Here
Miss Joyce
answers
him
By
Sara
Redway
e*
Peggy Hopkins Joyce is a lovely blonde, slender with blue eyes and a large, thickly
coated aura of romance and charm enveloping her
supported pleasantly, and her position was assured.
"You hear a good deal about the work the old-fashioned
woman had to do. I do not believe it was so bad. There
was more room in which to raise a family. A tiny baby
in the country taking its air on a sunny veranda, is not
the care and responsibility that a child raised in the city
is, one who must be taken to a park and watched, actually
watched, every second of his play time or nap time.
"Then, too, there were more servants in proportion to
the population, and their wages were cheaper. Life was
not so exacting. If a husband or so strayed away, it was
usually temporary, he returned home after a while, the
incident was ignored, and every thing ended happily.
Women were divided into two classes, good and bad.
Think then of the irreproachable position of a good wife
and mother. She was where she was. Her stand was
as strong as Gibraltar's. The rest of the world came
around to her way of thinking.
(Continued on page 72)
not their own. Financially, they
have been forced from the home.
Twenty-five years ago, a girl of
eighteen whose parents were of
moderate means lived at home,
had pretty clothes, beaux,
gave parties, and helped
about the house spasmodi-
cally until she got married.
Once married, her role
changed only slightly. The
house was still her set-
ting. She did not have
to look about for new
material. She did not
have to keep up with
the times. She could
settle back, grow fat,
raise children, be
23
SILVERSCREEN:
By H. W. Hanemann
COMPLETELY
surrounded by
an exact repro-
duction of the Great
Wall of China, Silver-
screen — the Com-
munity Super - Beauti-
ful, the Home of
Cinema Art and the
Playground of the
Public's Darlings —
nestles against vine-
clad hills, drowsing the
while to the murmur
of the opalescent sea
fringing its palm-shot shores. Here nature conspires
with man to create the ultimate in beauty. Fresh-water
lakes set like sparkling sapphires in the green gold of the
lush foliage that leans above mossy marges to kiss (but
only in the most Platonic fashion) each sun-caught rip-
ple, reflect the glory of Switzerland. The cleanest and
purest possible are filters from the Formaminted firma-
ment to assail the clear-cut nostril as the headiest of rare
wines ever guaranteed to contain less than one-half of one
per cent, of alcohol by volume. At night, the very con-
stellations lean closer, beguiled from their places in the
Heavens by this Earth-Paradise. Here it never rains
rain, but violets — and frequently orchids.
Decorum Plus
Cuch, then is Silverscreen. Which is saying absolutely
^ nothing of its shady, broad walks and its orderly, dig-
nified business district, wherein traffic moves with the
suavity of a symphony orchestra under the baton of a
super-maestro. Decorum is more than perfectly main-
tained by the Sennett comedy
police force to whom is given
this opportunity for serious
work toward which the heart
of every true comedian secretly
yearns. In the realization of
this opportunity, the police
may be strict, but they a're
ever just. Boot-
legging, drug-
running and
husband - shoot-
ing are unknown
to Silver-
screen.
A new arrival
from the farms
of Iowa is ar-
rested while the
Sennett beauties
register "Shock-
ing!"
Sponsored by Will Hays, arbiter of the cinema, a
model movie community has been on the celluloid
horizon for a long time. Most reports have placed its
probable location on Long Island.
Mr. Hanemann has taken Mr. Hays' idea and devel-
oped it along practical — and humorous — lines.
Here, then, is Silverscreen, the Community Super-
Beautiful and Super-Moral.
Accommodations, and
Manner of Living
I ife, in Silverscreen,
is based on the old
patriarchal system of
"we are all just one
happy family" upon
which has been super-
imposed the guiding
principle of the Mar-
shal Stillman Move-
ment— "give the movie
artist a square deal."
The girls and boys are
housed in separate dormitories, situated at the opposite
ends of the community and further safeguarded by wide
moats filled with broken glass and sulphuric acid. Each
"dorm," however, has a large, well-ventilated and sunny
community room, where, under proper supervision, girls
and boys may on occasion gather to sing hymns, pull
taffy or indulge in such
stimulating games as "Logo-
machy," "Clap in and Qap
out" or "Going to William
Fox's." Further classifica-
tion is made by housing
those actors and actresses
24
The Model Movie Community
Drawings by KHz
ulio-o similar types give them interests in common. Thus
we find the sinister sisters living happily together along
the "Avenue des Vampires," while gay girlish giggles
may be heard at almost any time of day emanating from
the rose-clad purlieus of 'Flapper Terrace." Over on
the boys' side, all the Western types listen in to the radio
at "The Ranch 1 louse." while the fan mail of the Sheiks
may he addressed care of "The Mosque" on the corner
iHigan Street and Mae Murray Avenue.
With the curfew-hell ringing regularly at ten o'clock,
it is readily seen how easily any particular member of the
community may he located, when wanted. Furthermore,
there is no marriage or giving in marriage in Silver-
screen. The major portion of the success of the com-
munity has been ascribed to this admirable precept. True,
many of the Supervisors are married, and live in pretty
little cottages dotted about the landscape. But the Super-
visors are in reality beings apart,
busy with the administration of the
community and like the gods on
high Olympus rarely mingle with
the less exalted inhabitants. And
when they do, you can jolly well
rest assured that they arc as closely watched as anybody
else.
Places of Interest, Buildings
/■""«. \kkii:i> out to the smallest detail in the finest example
^ of Cecil B. De Mille architecture, each building in
Silverscreen is a veritable "thing of beauty." Space
scarce permits detailed description of the- many studios
and permanent sets which, as Mine. De Montespan said
of the Grand Canon of Arizona, "need to be seen to be
appreciated." One might mention, however, the gigantic
cafeteria-automat where all of Silverscreen takes its sim-
ple but wholesome meals. The exterior of the cafeteria is
patterned after Mont St. Michel (with improvements and
additions), while the interior blends the best features of
the Blue Grotto at Capri, the grand ballroom at Ver-
sailles and the lobby of the Pennsylvania Hotel. Another
building of note is the Silverscreen Museum, which con-
tains (among other things) a collection of canes loaned
by Mr. Charles Spencer Chaplin, a curl shorn from the
infant head of Mary Pickford, the original illuminated
subtitle, "Came the Dawn," and the first pair of puttees
ever worn by David Wark Griffith. The Administration
Committee is now negotiating for the purchase of the
1920 Robert E. Sherwood derby, which, if secured, will
be encrusted with a quarter-inch layer of twenty-two-
carat gold-leaf and mounted on the head of a Milesean
Venus, sculptured by Mr. Ferdinand Pinney Earle and
posed by Miss Bebe Daniels.
Even of greater interest, perhaps, is the Artcrafts
Building hard by, which contains the Play-
time exhibition of the actors and actresses.
Here may be seen the beautifully wrought
samplers and
knitted woolen
goods, done by
the girls in
their spare mo-
ments, while
the boys show
their ingenuity
in examples of
chip carving,
model boat
building and
pottery. A
handsome med-
a 1 is g i v e n
every year for
the best work,
and competi-
tion is always
at a feverish
heat.
Recreation
and
Amusements
J\io little at-
tention is
paid to the
{Continued on
, page 77)
25
Making "THE BIG PARADE"
By Frederick James Smith
SAYS KING VIDOR:
"The motion picture play must have a rhythmic flow,
a steady movement, a genuine musical beat.
"Every scene of 'The Big Parade' was filmed to the
music of the doughboy song, 'You're in the Army Now.'
"It isn't possible to achieve complete realism on the
screen. In fact, the photoplay can never become an art
if it tries to."
KING VIDOR believes the motion picture comes
nearer music than any of the other arts. He sees
the photoplay as breaking away steadily from the
drama and literature. Whether or not you believe this,
you will find Vidor's theories to be highly interesting.
"The motion picture play must have a rhythmic flow,
a steady movement, a
genuine musical
beat," he says. "I
believe that The Big
Parade' is successful
largely because we
kept to this idea.
"Every scene of
'The Big Parade' was
done to the music of
the doughboy song,
'You're in the Army
Now.' There is, in-
deed, a very real rea-
son for its use in the
subtitles.
The Belleau March
"To most audiences, the big moment of 'The Big
Parade' is the march thru Belleau Woods in the face
of German machine-gun fire. That march evolved in an
unusual way. Before we started shooting 'The Big
Parade' I had studied a mass of official war film made at
the front. Each time this mass of film was projected,
one brief stretch of celluloid hit me between the eyes. It
shows the burial of a young officer in a small French
town.
"Now there was nothing particularly gruesome about
that scene and yet it chilled me each time it flashed upon
the screen. In fact, it annoyed me so much that I told
my assistant to cut it from the film before running it off
again.
"Then I began to wonder why that bit of film got to
me. I had it projected — and suddenly I realized it was
the slow march of
the soldiers that
chilled me. The
doughboys were
schooled, of
course, to move at
a normal drill time
and the funeral
march slowed
them down to half
that. Each time a
man lifted his foot
there was an odd,
hesitating, grue-
some second. It
symbolized the
doubt of death.
"I'll try that on
the march thru the
woods," I thought.
"So when the
march was filmed
— and it was the
first episode we
mad e — I had a
26
drummer beat the slow time. Involuntarily, the men
moved thru the woods with the slow shambling yet steady
march that stands out so strongly as picturing the de-
struction, terror and mental drunkenness of war.
"The first day we tried the drum the military experts
rushed up to me. 'That's all wrong,' they protested. 'It's
impossible.' 'I know
it,' I said, 'but we're
going to do it that
way.'
KING VIDOR
Complete Realism
Impossible
"It isn't possible to
achieve complete
realism on the screen.
In fact, the photoplay
can never become an
art if it tries to. The
films must translate
life, even idealize and
temper it. They must
give the feeling rather than the photograph of a scene.
"Suppose," said Vidor, pointing to a table in the Am-
bassador dining-room, "suppose John Gilbert were sit-
ting there. Suppose he looked out the hotel window and
saw the girl he loved. In real life he would mask his
feelings and go on with his bread and butter. On the
screen he would have to mirror a half-dozen emotions. It
is the same way with the picture of any happening."
Vidor returned to his description of the making of
"The Big Parade." "After the march sequence," he went
on, "we realized we were right. We shot every scene
to march music. In fact, we went thru the continuity
and, with the aid of a metronome, marked the time of
every scene.
"The parting of the lovers was filmed to this march.
When the drama speeded up and the men were sweeping
away to the front, the action speeded up to double time.
The beat doubled — and you unconsciously feel that in
watching the boy
torn away from
his French sweet-
heart. Thru all
those scenes of
Renee Adoree
seeking for Gil-
bert, a squad of
soldiers ran up and
down at double
time."
Pictures Plus
Music
\7idor continued.
"You are going
to find a steady
movement toward
the blending of
pictures and
music. Every suc-
cessful picture
must have its
rhythm. I am
(Con. on page 71)
Apeda
Melbourne Spnrr
"SOS HER OLD MAN!"
Dolores Costello has been pronounced a fine artist of the screen, proving that she is following in the footsteps
of her father, Maurice Costello, the first idol oi the films. Dolores played child roles at old Vitagraph.
Today, critics declare that she is the most promising young actress in all celluloidia
27
How Fairbanks Took
Doug Fairbanks, as the adventurous hero of "The Black Pirate," watches the buccaneers on their lonely treasure island
THE motto : "Take color out of color" would hardly
seem an apt choice for a picture in which there is
not one single foot of black and white ; yet Albert
Parker, the "director of Douglas Fairbanks' latest picture,
swears this was "The Black Pirate" slogan from six
months before the
first scene was shot
until the last scene of
the last print was dry.
An incessant battle
was fought from the
beginning to the end;
and the enemy was —
color!
If you and I were
to speculate upon the
making of a colored
picture, our first
thought would most
likely be to push to
the furthest extreme
what we considered
its most obvious po-
tentialities. A thought
somewhat like the following would undoubtedly be the
first to enter our minds: "Color? — ah, sunsets and
Doug Fairbanks experimented for six months before
he started shooting "The Black Pirate" in color.
First a definite color scheme was worked out, green
and brown. Costumes, make-up, even wigs, harmonize
to this color scheme.
rainbows ! Brilliance ! — play it to the limit !" But what
would we find as our result ? In all probability a product
that could only be fittingly described by some such bur-
lesque title as "The Cullud Buccahneah." But it was
not so with these pioneers in the field of what we might
well call "controlled"
color — after the first
they took the precau-
tion to have a second
thought.
But I'm getting
ahead of my story.
Fairbanks followed the precepts of art in idealizing
nature. His skies are almost white, with a tinge of
warm brown.
It was found that twice as much light was needed
as in black-and-white photography.
'The inescapable im-
pression made by
Mr. Parker when one
first met "him — an im-
pression strengthened
by each succeeding
moment — was of a
man bursting with
enthusiasm for this
new idea, but trying
hard to control it for fear that, being so close to his
subject, he could not focus sharply, nor get a true
The Color Idea
the Color Out of Color
The Man who made "The
Black Pirate" explains how
the Menace of Color was met
and overcome
By Dunham Thorp
perspective. But, before even a very few mo-
ments had passed, a second enthusiasm, of a
ngth sufficient to wage lusty battle with the
first, appeared and made itself observed. And this
enthusiasm focused sharply in the person of one
man: Douglas Fairbanks.
"It's a revelation to work with him. For a director,
even one who thinks he has a thoro knowledge of the
industry, it's like going to college after completing
school !"
And the reason for this interesting statement is un-
doubtedly admiration for the thoroness with which
everything is undertaken — the "second thought" alluded
above being an excellent example.
"Mr. Fairbanks' first reaction to the mention of colo
"Would you rouge the
lips of the Venus de
Milo?' But then he
had a second, and that
was to find out why
color should seem to
be an unnecessary
'painting of the lily.' '
Six Months'
Preparation
And this simple sec-
ond thought meant
work, and plenty of it.
In fact, it was six
months before the la-
bor entailed by this
little "why" was
considered sufficiently
advanced for them to
feel justified in start-
ing work upon the first
scene. Six months ! —
how many of the usual
"feature" pictures
could they have made
in this time spent in
preparation for just
one? But, also, which
would we rather see?
This six months'
period was spent in
searching new and en-
tirely unexplored
fields' At first, all the
fields explored seemed
barren deserts ; not one
yielded a single kernel
Fairbanks holds off the villainous pirate crew in
"The Black Pirate" to protect the heroine, Billie Dove
Albert Parker, who di-
rected Doug Fairbanks in
"The Black Pirate"
of even the poorest grain.
But, at last, one was found
that seemed to hold mag-
nificent promise of a fruit-
ful harvest — and this was a
study of the Old Masters.
Mr. Parker's enthusiasm
grew beyond all bounds as
he started to illustrate the
reason.
"If I show you a Rem-
brandt, then take it away
and ask you the color
scheme, what would you
say? 'Black and white.'
most likely."
"Yes — or 'light and
shade.' "
"Exactly ! But it isn't !
It's simply that the whole
composition is in harmony.
There may be reds, blues,
and greens in it — but they
are so harmonized it is the
picture, and not a spot here
and there, that impresses it-
self on your mind.
The Color Scheme
"Qf course, we had to deal
with movement as well,
so we found it necessary to
(Continued on page 87)
29
CELL A Puts the Foreign
By
JOHN
HELD,
Jr.
WHAT'S GONE ON
BEFORE:
Cella Lloyd, who used to
star behind a counter in
Blatz's Emporium back
home, is now a Hollywood
luminary, thanks to a bath-
ing-girl contest and her
own snappy one-piece suit.
Cella has achieved leading
role in the great Horace
De Grind's boudoir super-
specials and she has a
Hollywood bungalow of
her own. Indeed, Mama
and Papa Lloyd are now
sharing the bungalow.
Now read on!
Scene I
Max Epic, the pro-
ducer, introduces Cella
to his newest foreign
star, Mile. Hebe Jebie,
the Mary Pickford of
Czecho-Slovakia. Is
Cella pleased! She is
NOT
Scene II
Mile. Hebe Jebie begins
to demonstrate some of
the wiles that make her
the talk of the boule-
vard tables of Czakli-
azarkiz. She vamps
Cella's cameraman!
30
VAMP in her
PLACE/
Scene III
The limit is reached, how-
ever, when the foreign
devil rolls her Czecho-
slovakia orbs at Cella'a
press-agent. Is zat so?
■ays Cella to herself
Scene IV
Cella rushes to her dressing-
room and dons the one-piece
suit that made her famous.
The vamped ones all come
flocking back. Forgotten is
Mile. Hebe Jebie. What will
Hebe do? See The Classic
next month
31
MORE IMPRESSIONS
WE arrived at noon and Mary Pickford welcomed
us cordially. They were setting the table in a
little white cottage on the Fairbanks-Pickford
studio lot, and Mary took us across the lawn to her
beautiful bungalow. She showed us thru with some
pride, and well she might, because it was a completely and
elegantly furnished little home with every convenience,
including bedrooms, kitchen, baths, etc. After that, Doug
came up and shook hands with Corliss Palmer and me,
then introduced Joseph Schenck and another man, all
dressed in athletic clothes. Doug looked very fit, but Mr.
Schenck looked quite undertrained and a trifle overfed.
Doug announced that they must have their daily dozens
before luncheon, which consists of a mile and a half
canter around the course which bordered the lawn.
Doug led them a merry chase, but Joe Schenck was right
there with the goods. At our backs were some of the
walls used in "Robin Hood," the huge ship used in "The
Thief of Bagdad," and other massive "props" that figured
in recent productions, including "The Black Pirate,"
which had just been finished.
"Now that the United Artists are to use this studio,"
Mary said, "I think we should change the name of
the studio, because it would not be fair to the other
producers."
"No," I said, "you and Mr. Fairbanks are the pioneers,
and the others should honor you by recognizing that fact Mary is very proud of Douglas Fairbanks, Jr., and is
and letting the name Fairbanks-Pickford Studio remain * anxious for him to make good. "How fortunate,"
as a landmark for all time." she said, "that he can sit here and listen to all you learned
men. These boys will be the men of the future who will
shape and guide the destinies of the future movies."
manner, because he is just as democratic, good-natured,
and unassuming as a man could be. "Ah, liver and
bacon !" shouted Doug joyfully, and the way he sailed
into it indicated that it was a favorite dish in the Fair-
banks-Pickford family. And we all enjoyed it, also the
many delicacies that Mary had provided.
Then for three hours we talked. If you think that
Doug is merely an acrobat, you are very much in error.
He is a highly educated, thoughtful man and his com-
mand of language is remarkable. They say that he is
the best "showman" in the business, but this word should
never be applied to a gentleman and a scholar of the
attainments of Douglas Fairbanks. And Little Mary is
in the same class. She is a far-seeing, wise, thoughtful
little woman with high ideals, and her principal worry
just now is about the way they are destroying beautiful
Hollywood by cutting down so many trees in order to
widen the streets, and because people are allowed to
build houses that are not in keeping with the character of
the community. But — more about this later. Also, more
about the several other topics of conversation, which
proved to be very enlightening.
1
T is quite obvious to any visitor that Mary is very fond
and proud of her husband. As Doug and the others
were cantering around the running course, she pointed
out to us the youthfulness of his figure and the splendid-
ness of his muscles. "You know," she said, "I never
noticed muscles until I married Doug."
\A7hen the run-
' ners had com-
pleted their mile
and a half, and
taken their shower
and donned citi-
zen's clothes, we
sat down to
luncheon. The
table was wide
enough to permit
the host and host-
ess to sit at one
end of it, side by
side. I sat at
Mary's right, on
the side, and Miss
Palmer at Doug's
left, opposite ; next
to me sat Mr.
Schenck, who is
per ha p s the
wealthiest and
most prominent
picture magnate in
the world, but one
would never sus-
pect it from his
Mr. Brewster visits Norma Talmadge, Ronald Colman and
Director Clarence Brown
Pvouglas Fairbanks is the champion perfume collector
and consumer of Hollywood. He has fifty-seven
varieties and then some, and he is a connoisseur. I told
him that I was glad to know at least one he-man who
had the nerve to defy the conventions, and he said that
he did not intend to deprive himself of the luxury of
cultivating one of
his senses simply
because somebody
once said "They're
not doing it."
There is a wonder-
ful fragrance in
the atmosphere
in residential
Hollywood, par-
ticularly in the
evening, due to the
orange-trees and
every variety of
flowers that bloom
winter and sum-
mer, but Doug
likes to have his
fragrance all the
time — at home and
at work. Shall
we call it aesthetic
taste, or one of the
eccentricities of
genius ? And Doug
certainly is a genius,
and from many
different angles.
32
of HOLLYWOOD
By Eugene
V. Brewster
r\sv peculiarity about Doug ia thai he seldom weara
^ jewelry Perhaps he can! afford it. He carriea hii
rets loose in his pockets, there is no stick-pin in nil
i and no rin^s on Ins ringers except a tiny wedding-
ring. Instead of an elaborate, gold, diamond-studded
f-clasp such as most men of wealth wear, he uses an
ordinary, common pin.
* * *
I w \s curious to know it" Mary was like most wives
* permitted her husband to manage her business. I s
and
soon.
found that she was not. She manages her own produc-
tions and Doug manages his. And they even have
quarrels about them, but in a perfectly good-natured
I even imagine that Mary is a wee bit jealous
of Doug's successful methods of exploiting a picture,
altho she refuses to copy them. However, she thinks
she lias a masterpiece in "Sparrows," her latest pic-
ture, just finished, which deserves a "premiere" on
Broadway commensurate with its importance, and I
think she intends to hold it back until late summer and
put it on in a big way for a limited run before it is
released generally.
* * *
[ fear," said Mary, "that my public is not the same as
Doug's. He appeals to the people of all classes, par-
ticularly the boys, while I appeal to the poorer classes
such as those we see in 'Little Annie Rooney.' " We all
assured her that this was not true, that her appeal is uni-
versal. And it is.
I wish that I had had a stenographer present taking
notes at this remarkable luncheon. Mary, Doug and
Joe Schenck are about the wisest trio I ever encountered,
and a report of their remarks would make an interesting
and valuable book. I shall try to give the gist of it to
our readers in later issues.
At the Metro-
Goldwyn-Mayer
Studio they
showed me a few
reels of Greta
Garbo's unfinished
picture. This strik-
ing young Swedish
actress will doubt-
less appeal to
many, but some-
how I could not
see the great com-
ing star in her that
her company ex-
pects.
want all the
young ladies
and young men
everywhere to
know that, just be-
cause they can get
a photographer to
pose and light
them so that a good photograph will result, tins docs not
mean that ihcy will icreen well The photographei
spend hours in getting just the righl angle, lighting and
expression to show the subject at his or hut this
is quite different from appearing before a movie cat
which sees all the had angles and expreSSIOl I] SJ
the good. It is a hard game, my d( and girls, as you
would soon believe if yOU could he here with me and seethe
thousands who cant break in, in spite of the wonderful
photographs that they have had made in a photo gal:
T'here are several large studios well outside the limit
Hollywood, such as Metro-( ioldwvn-Mayer and De
M die's at Culver City and Universal at Universal City.
Real estate is getting too valuable in Hollywood for a
company to own several acres right in the heart of the
city. First National is moving out near Universal City
between Burbauk and Lankershim, and several other
movie magnates including Harold Lloyd and Cecil De
Mille are buying acreage out that way, indicating that
this locality may perhaps be the studio center of the
future. Famous Players-Lasky have already arranged to
vacate Hollywood's business center, but they are moving
only about half a mile away. Fox is contemplating mov-
ing from Western Avenue, which is another crowded
business street where real estate is high. But Hollywood
will always be the residential center for movie people
of all kinds.
* * *
'They have all sorts of research experts in Hollywood
who are prepared to tell what color Caesar's eyes were,
what size sandals Cleopatra wore and the height of Joan
of Arc's horse, etc., and they will show you photographs
of houses, streets and people in the Fiji Islands or in
any part of the world. But with all this, the directors
sometimes make mistakes, and sometimes it is not their
fault, because once in a while the star will refuse to wear
a certain kind of head-dress or body-gear just be-
cause it is not be-
coming.
[and in
around
Brewster drops in to call on Buster Keaton
and interrupts a boxing bout
and
Los
Angeles seems to
be almost as high-
priced as it is on
Broadway, New
York, and yet the
Universal lot com-
prises no less than
six hundred acres
of it — and a mile
across it.
Dight near the
Universal lot at
Burbank will soon
be the new First
National. They
have already started
building, and it will
cost about a mil-
lion and a half.
33
K o m a k o
Sunada, of
Nikkatsu, a
popular Japan-
ese screen
actress, as she
appears in
O cciden tal
garb
Miss Sunada
in a scene of
a Japanese
H Wl I
Aiko Takash-
ima, another
Japanese fa-
vorite, in a
scene of
"Queen of the
World"
The
MOTION
PICTURE
in
— ■ >■ ■ in ■■—'- ■< ■
-2
JAPAN
THO subjected to every species of police
restriction and censorship during the last
half a dozen years, the motion picture
industry has, nevertheless, made such tremen-
dous headway in the land of chrysanthemums
and cherry blossoms that today the movie is
by far and away the most popular national
amusement in the country.
Three-fourths of the number of the popula-
tion of the empire go to the picture theaters
every thirty days, altho most productions are
scissored mercilessly by the censors, rendering
the stories in some instances almost incompre-
hensible.
When one considers that the average
Japanese fan is unable to read English, he .be-
gins to understand the subtleness of the
Oriental mind, which is trained to perceive in
mere suggestions the hidden meaning of
things and the added complication he en-
counters.
The fans of staid Pennsylvania are well off
compared with those in Japan. Kissing scenes
have long been taboo. Hold-ups and ardent
love scenes very often do not get by the cen-
sors, who consider such acts injurious to
public peace and morality. Views of revolu-
tions, especially those of the overthrow of a
crowned ruler, are frowned upon by the
police.
Yet, with all the limitations and obstacles in
its path, the popularity of the movies grows
rather than declines. Scarcely a month
passes in any of the larger cities in which a
new playhouse is not opened. There are six
hundred theaters today showing motion pic-
tures exclusively in the tiny island empire.
Fifteen years ago there was none. The the-
aters are, however, with a few exceptions, tiny
affairs.
Every motion picture house is divided into
three sections — one for men and boys, another
for women and girls, and a third for married
couples. Police officers are assigned to each
theater to see that the regulations are observed.
Regardless of how crowded the men's section
may be and how vacant the women's is, no
male is permitted to sit in the enclosure re-
served for ladies. This was done some years
ago to safeguard public morals, when it was
34
The Screen Drama
Has Won Cherry
Blossom Land
By
Kimpei Sheba
Theater Editor of
The Japan Times
discovered that love scenes on the screen
caused the more emotional among the audi-
ence to behave improperly.
A Japanese generally sees at least twice the
number of photoplays that an American does,
for the reason that whenever he goes to a
show he views a "double bill." Two or three
feature pictures, besides a newsreel and a
comedy, are run by practically all houses.
Recently, in an effort to safeguard the eyesight
of the people, the police have issued a regula-
tion to playhouses forbidding them to exhibit
more than thirty reels of film at a per-
formance.
A thirty-reel performance, however, is a
comparatively short program for a Japanese
theatergoer who is a habitual viewer of stage
plays, for that person has been in the custom
of entering a playhouse at four o'clock in the
afternoon and remaining until eleven at night.
In fact, until comparatively recently, it re-
quired three days to stage certain lengthy
spoken plays, the performers acting several
hours a day, and the audience bringing along
dinners with them. Even at present every
stage theater has a cafe, where meals are
served during the intermissions, while in prac-
tically every playhouse hawkers carry candies
and soft drinks up and down the aisles.
In America the loud subtitle reader is a
menace. In Japan he is a blessing. Subtitle
readers are hired by the dozen by each theater
to translate the titles as they appear, and to
shout their translations to the audience. There
are more than eight thousand regularly paid
subtitle readers in the country, and a skilful
interpreter increases the value of a picture to
a great extent. Imagination is employed by
some of the men, who succeed frequently in
altering a weak story.
Photoplays were first produced in Japan
about twelve years ago. Shortly thereafter, an
ingenious stage director chanced on the idea
of taking close-ups and long shots of stage
scenes in studios and out on location. His
actors and actresses would begin a perform-
ance on the stage, but as the story progressed
and necessitated a broader field of action, or the
registering of emotion by the players, that par-
ticular scene would be flashed on the screen.
Sumiko Kuru-
shima, star of
the Kimiti
Studios, re-
ceive! the
largest film
salary in
Japan, a thou-
> a n d yen
(about $430)
a month
Yukiko Tsukuba,
of Shochiku,
playing a Japan-
ese housewife of
the lower class,
indicated by the
black kimono
collar
Miss Tsukuba,
again, this
time as she
appears in a
Japanese Mack
S e n n e t t
comedy
35
y-s~.
Kayoko Saijo, another popular Japanese actress, in American and native dress
This, however, while still occasionally seen, is gradually
disappearing, for the reason that many of the stage celeb-
rities do not photograph well, and those that do register
satisfactorily become movie actors and actresses.
While on the stage, the majority of feminine roles are
played by men, women have from the very beginning
established themselves firmly in motion pictures. At the
Kabuki-za, the largest theater in Tokyo, no actresses are
employed. On the other hand, while there are only a
handful of male film stars, all studios are crowded with
actresses.
Love, such as is known in the West, was something
little known in the Far
East until the advent of
the photoplay. Marriages
were invariably arranged
by parents and friends.
This system was agree-
able until American
movies were introduced.
Then, the Japanese, being
great imitators, decided to
give Cupid a tryout. He
turned out to be a com-
parative success.
Unlike in the Occident, hawever, the happy ending of
Western love in Japan seems to be death, and as an indi-
cation of the rapid spread of this variety of "love," one
has but to note the tremendous increase in the number of
Motion picture theaters in Japan are divided into
three parts: one for women, one for men and a third
for married couples.
The average program numbers thirty reels.
Since few can read English, subtitle readers are
employed by the theaters. There are eight thousand
regularly paid subtitle readers in Japan.
Film kisses are now permitted in Japan for the first
time.
"double suicides," in which a couple binds itself, the man
and woman facing each other, with a rope or sash, and
jumps into the ocean, the pit of a waterfall or into a lake.
Thus, a certain percentage of photoplays end with a
double suicide scene, for it is difficult to produce a pic-
ture that is not based on love, while it is difficult to por-
tray a "happy ending" on the screen in Japan owing to
the censorship ban on kissing and embracing.
Recently the censors lifted the ban on kissing, so far
as American and European actors and actresses were
concerned, to see the effect this move towards Westerni-
zation would have on public morals. Should the result
be satisfactory, it is likely
greater freedom will be
permitted Japanese actors.
Today special scenarios
are being written for Ori-
ental players, and it is a
question of time when
Japan will produce a
"Passion," bring forth a
Pola Negri, or perhaps
another Sessue Haya-
kawa, who, by the way.
with Madame Miura of
operatic fame, is extremely unpopular in his native
country because of the parts he and Madame
Miura have played in stage and motion picture produc-
tions.
36
MOANA:
A Poem of the
Cinema
By Matthew Josephson
OX certain notable occasions the cinema, but
recently elevated to a place among the Seven
Lively Arts, has positively suggested the
strongest claims for a place in the major arts, where
"liveliness" is utterly beside the point.
Such a case is Robert Flaherty's poetic film of the
South Seas, "Moana." In the unique hour of beauty.
understanding of life, peaee-with-one-
self, that it gave, this film rivaled
some of the highest flights of
any human arts.
Unique Production
after all, the supreme
™ quality of any art is
to create so powerfully
the illusion of your liv-
ing another's life, or
within another man's
vision of the world, that
you swiftly forget the
disagreeable breakfast
only this morning, the
day's quarrel, the bills at the
end of the month — in your
own complete ab-
sorption or merg-
ing with what is go-
ing on before you.
"Moana" will
probably remain the
unique picture of
this season. There
was no plot ! No
Hollywood stars!
Only beautiful sav-
ages living their
simple lives in a far-
off tropical island
that might very well
have been the Gar-
den of Eden. ... I
do not propose to
review it here. I
should like only to
extract, if I can,
some of its magnifi-
cent hints of what
can be done on the
screen. Men have
progressed only
thru great gambles
or experiments with
the unknown. The
cinema perhaps may
read its future
greatness in such Fwn-ga-se, the heroine of "Moana
things as "Moana." the South Seas"
Bros.
Robert J. Flaherty
"Moana" begins in the upper branches of
two kava-trees, weird, feathery, luxuriant
Well, what is it that Flaherty tried to do
— he who had given us something so differ-
ent from the usual Hollywood product in
"Xanook." Different and yet universal in
its appeal.
"The art of- life," Flaherty said to me,
"interests people everywhere, more than
anything else — how people live, fight, suf-
fer, worship God, anywhere in the world,
Alaska, Xew York, or the South Seas."
I think Flaherty has touched the heart
of it all right here. This is evidently what
"Moana" had that made it so thrilling to
watch, altho lacking in more obvious tricks
of the screen or the stage.
Study in Physical Beauty
In every film you feel the style of the di-
rector dominating players, sets, sequence,
photography ; you feel whether he is senti-
mental or cynical, intelligent or frivolous or
sensitive. Flaherty, then, seems more than
anybody else to respond to the physical
beauty of trees, human figures, water, sky.
He dwells on these things lovingly ; they
have meaning for him, and he goes from
one to another in such wise that they take
meaning for us. He is a poet, and in Samoa
he found and brought back almost more
beauty than a single film could hold.
But above all he is a thinker — how few
directors are that! — and in "Moana" he has
touched on certain ideas which at this
moment concern us all very deeply.
If the public flocked to "Moana.'' 1
ascribe it to the Florida boom and the rage
for the Charleston. These things seem to
{Continued on page 84)
87
Gene Kornman
Jobyna Ralston grew up on a little farm in the Tennessee hills.
Five years ago she went to Hollywood
WHEN Jobyna Ralston has all the money she wants and needn't
worry about parts in pictures, she knows what she is going
to do.
"There's a woman who drives around Hollywood in a perfect
wreck of a car, wearing a man's battered hat and a flannel shirt. The
car has a peach of an engine, and the woman always looks comfortable
and seems absolutely happy. Whenever I see her, I say to myself :
'There / go — some day !' Wouldn't it be fun ?
"She's terribly attractive and so free! Makes me remember when
I was a little girl on our Tennessee farm going coon-hunting in the
dark of the moon. I never wore anything but overalls then. My
brother was no more of a boy than I was. He's a year younger but
we were about the same size.
I
Back in Tennessee
went back last summer. Everything here is clean and new and
beautiful, and in five years I'd forgotten how old and dirty and
ugly it is back there — only what God made was lovely. California
spoils you !
"When I came here, I was very much of a kid and I didn't want
to be. I saw important stars at Cocoanut
Grove, sitting back — not dancing — but wear-
ing terribly smart, sophisticated clothes, and
I yearned to be like them.
"After I'd been working awhile and had
some money, I went to town one day and
In Harold's new pic-
ture, "For Heaven's
Sake," Miss Ralston
plays a little settlement
worker
JOBY
From the
Tennessee
HILLS
By
Alice L. Tildesley
38
Miss Ralston
has been Harold
Lloyd's leading
Woman for four
Years
bought a gown. Not a dress, but
a gown minus a back and with
practically no front. I looked
like the Queen of Sheba or
rheda Bara before she went into
comedies. Hut before I could
get out of the house I had to pass
inspection by my mother, and by
the time I got away from her, 1
bod bibs and shawls and guimpes
tacked in the gown and nothing
could have persuaded me to go
out in it !
'Oont I look the perfect
ingenue today?"
Beneath her black poke bonnet
with its shell-pink lining, her face
looked out demurely, chestnut
curls framing its pink and wrhite.
blue eyes starry, lips a Cupid's
bow. A rose caught the fichu of
shell pink above the black satin
skirt. She might have stepped
from an 1830 painting.
Clothes Make the Girl
"O lothes give me a different
feeling. In these, I'm al-
most useless. Somebody has to
pick up the things I drop. That's
why I brought him."
The pronoun referred to Roy
Brooks, one-time comedian on
the Roach lot, now making him-
self invaluable with Harold
Lloyd.
"I like sports things. If I had
on a sports dress that I felt right
in, I could meet the Prince of
Wales and never quiver. . . .
There goes something else, Roy.''
"Your purse Oh, wait — here's your handkerchief !
The trouble with you is you have too many props," com-
plained Mr. Brooks, as we entered the dining-room.
"Count 'em and I'll gather 'em up when we leave. I warn
you I wont go bouncing back after anything. Four.
Sure that's all ?"
"I make five," observed Jobyna. Her mind returned to
wearing apparel.
"The second part I had after I arrived in Hollywood,
was leading lady to Max Linder in a burlesque of "The
Three Musketeers.' I wore the wide skirts Marguerite de
la Motte wore with Douglas Fairbanks, but I was so very
flat in the tight bodice that I looked like a broom-handle
sticking ud out of a straw stack. I was just a kid.
"Take Her— and Pad Her!"
Max Linder took one look at me, tore his hair and
cried: 'Am I to make love to a child? Take her
away and pad her!' They did — rolls of it — I swear I
Gene Kornman
Jobyna Ralston's second part after coming to Hollywood was leading
woman for poor Max Linder in his burlesque of "The Three Musketeers"
was like a sausage tied in the middle, or a washwoman
out on a holiday !
"After that, I went to the Hal Roach lot and did one
reelers for a year. One a week. Every Saturday we'd
finish the current picture at two or four or six o'clock, and
dash down to the wardrobe rental house to get fitted out
for next week.
"Great training — this week a South Sea islander, next
week a Quakeress, the week after a Turkish princess and
then a circus girl with a trained seal."
"Remember the Arab picture and how nobody knew
how to put on the costumes?" broke in Roy Brooks.
"They were mostly pieces of cloth and we hung them
around our waists or over our heads or wherever seemed
likeliest."
"Remember how the lion got away in the African pic-
ture? What was I that day? Something with a lot of
heavy clothes, I know, for I could hardly run !" laughed
(Continued on page 74)
39
The tender flower with
the curls finds herself
disappearing over the
"horizon
New STYLES
Drawings by Eldon Kelley
MOVIE weather inch
cations are for less ice
' Especially in heroines.
Fashions in girls change just about
as often as fashions in shoes and skirts
And they are on the edge of another change.
And two girls have made the change.
Dolores Costello and Renee Adoree.
The tender flower with the little corkscrew curls
dangling like Christmas tree decorations over her shoul-
ders finds herself disappearing over the horizon.
The Girl Cycles
A nd the extreme haughty and distant young icicle has
■** an uncomfortable premonition that moving day is
coming for her also.
I have seen all the girl cycles come and go ; and this
was the order of their coming and going :
Mary Pickford started the first spasm. She created
a cult — an order of movie sisterhood, so to speak. This
was so well recognized that the producers were entirely
frank about it. For years, no producer ever said that he
had found a new star. He said that he "found another
Mary Pickford."
Good heavens, they used to drop in from everywhere.
They came not only from Chicago, Montreal and way
stations ; but there also
were Swedish, Nor-
wegian, Argentine,
Greek and Chinese
Mary Pickfords.
That none of them
ever completely suc-
ceeded in being a
Mary Pickford is an-
other matter. But they
were Mary Pickfords
in so far as they had
curls and round faces
and innocent eyes —
relatively innocent,
anyhow.
There was a reason for them. When Mary Pickford
first blossomed forth, all movie lighting was extremely
crude. It was so raw and unrestrained that only the
youngest face, with the rounded contours of babyhood
40
Then came
the vogue of
ritzy stars
with the air
of "You can
look but you
mustn't touch"
Harry Carr says that the fashions in film heroines
have changed as often as the vogue in shoes and
gowns. . Mr. Carr divides the girl cycles as follows :
1. The Mary Pickford.
2. The Lillian Gish.
3. The Pola Negri.
4. The Gloria Swanson.
5. The peppy, unrestrained type of 1926.
could
stand the'"1*
fierce glare. The
slightest suspicion of a
line or a wrinkle looked like
the moat of a castle. As a con
sequence, a movie actress at twenty
years looked like an old hag tottering
on the edge of eternity. •
The Mary Pickfords faded away in herds for
two reasons. One was better lights.
It was discovered that the real Mary Pickford had the
soul of a great actress under the dangling curls ; and
most of the imitation Marys were just sappy. They
were nothing but corkscrew curls to their backbones —
and beyond. They affected baby stares and canines.
But nevertheless,
Mary started a cult
that lasted a long
time. This was, in
fact, the first movie
species.
Came Lillian Gish
'The next raging sen-
*■ sation of the screen
was the Lillian Gish
kind.
She didn't really
start a cult like Mary.
But she started a
technique.
Even to this day, I very rarely see a big emotional pic-
ture that I do not trace back some of the stuff to this or
that play of Lillian Gish.
That futile beating of the hands on the locked door.
in SCREEN GIRLS
By Harry Carr
That spasmodic clutching of the throat.
That maimed twitching of the lips. Perhaps it
unconscious on Miss Murray's part; hut the
pitiful movement of the corners of her mouth as
she lav broken hearted on the bed in "The Merry
Widow'' was taken directly from Lillian Gish's
death scene in "Broken Blossoms." It was so
like it that I half expected to see Dick Barthelmess
come in, dressed in Chinese clothes.
Some girls have tried to copy Lillian's funny
of running around in circles; but nobody has
ever been able to get away with that except Lillian her-
self; and even she doesn't always. She says she got the
idea from the fact that animals, when overjoyed, all run
around in furious circles to show their joy.
Lillian did not start a cult because there weren't any-
more Lillians.
Now that I think of it, however, I observe that three
of the most popular
women ever seen on
the screen have had no
imitators. They stand
alone.
They are Pola Negri,
Gloria Swanson and
Lillian Gish.
Oddly enough, it hap-
pens that these three
are devotedly admired
by other actresses. The
most passionate "fans"
I have ever known are
movie girls themselves.
They follow Mary
The recent popular hits of the screen have not been
scored by flappers, says Mr. Carr.
Witness Irene Rich in "Lady Windermere's Fan."
And Louise Dresser in "The Goose Woman."
And Pauline Frederick in "Slumbering Fires."
Audiences today want acting.
Pickford
around the
street and step on
each other's feet stand-
ing in the lobbies at her pre-
views— just like other girls.
Three Stars With No Imitators
They are little Pola Negri gangs; little Swan-
sons gangs and Gish gangs.
They burn incense before one or the other of these ;
but they do not try to imitate them.
You might as well try to imitate Yosemite Valley or a
storm at sea as Pola. She is as much a thing apart as
the smell of mountain sage, or the flash of sea phos-
phorus. She is just Pola; that's all.
It is impossible for anyone to be like Gloria ; because
Gloria is a strange combination of the exotic with the
downright practical. Just when you decide that Gloria
is a cafeteria cashier stepping out, you suddenly change
your mind and decide she is the Queen of Sheba come
back to life. No one knows well enough where one be-
gins and the other ends ever to make as much as an
attempt to imitate the lady.
Just so, nobody knows what the real Lillian Gish be-
hind the technique is like, well enough to imitate her.
So none of these ever created a cult.
The next cults that came along were the Norma
Shearers and the Corinne Griffiths. They brought a new-
note. The -aristocratic air. They frankly upstaged us;
they ritzed us. They
had a little the air
of "You can look ;
but mustn't touch."
And how we
loved it!
The Ritzy
Cult
They were
a relief
from the
P o 1 1 y a n n a
girls who tried to
look like Mary.
These Polly-
anna young
ladies were per-
petually making
round eyes at
the world — oh
so wistfully.
And the y
thought that
{Continued on
page 90)
<e^L£r
41
%
Melbourne Spurr
42
PAULINE STARKE
Next to be seen in an Elinor Glyn study in regal passions, "Love's Blindness"
.a
J
The NATION
of the Happy
ENDING
So Ernest Vajda describes
America
By Francis L. Perrett
Hollywood is the only city in America whets kiss-
is properly done.
It is also the city of "too many too beautiful girls" ;
they {"all on one.
American life makes up in "rigor and enthusiasm
what it lacks in sophistication and intrigue.
American women dress better and hair mors social
ambition than the women of any other nation, but they
dont know liow to WEAR their clothes.
The most interesting woman in Hollywood is a homely
one. (Unnamed)
The stage perpetuates the author; the screen, the actor.
If movies had existed in Shakespeare's time, the Bard of
n wouldn't be known today, but the actors and
actresses who played Romeo and Juliet, Portia and Ham-
let, would have been immortalized instead.
WHOA! Just a minute! Shall Ernest Vajda be
shot at sunrise for heresy, or shall he be feted
in the drawing-rooms of fashionable society for
his "novel view-point"?
Ernest Vajda
Hollywood hasn't decided yet, but it is still getting a
tremendous kick out of the opinions of Mr. Vajda. (Pro-
nounced Voya — no one knows why.)
Mr. Vajda is the Hungarian dramatist who set Europe
on fire not so long ago with a number of extremely bril-
liant plays. "Fata Morgana" was foremost among them.
It has played for long runs in most American citit>
recently.
Furthermore, it appears that the classic line — "I used
to be a newspaper man once myself" — isn't confined to
the United States. Mr. Vajda used to be a newspaper
man once himself — he tells you — in Budapest, the capi-
tal of Hungary. Being a newspaper man —
or journalist as he calls it — in Hungary is
merely another way of saying that one has
starved in one's day.
On to Hollywood
Ceveral months ago Ernest Vajda came
to New York where he had three plays
successfully running on Broadway. His
idea was to write another, one particularly
suited to American life. He took up the
study of English and progressed rapidly.
Meanwhile, Brother Victor, his business
manager, was always at his elbow. Brother
Victor doesn't write plays. But he does
know English.
Paramount had purchased the picture
rights to one of his plays, "Grounds For
Divorce." Soon after his arrival in Xew
York, Jesse L. Lasky had a talk with him at
lunch. Jesse has a poker face, you know,
so Mr. Vajda thought
nothing of the conver-
sation. It was just a
nice social chat.
About three days
later Mr. Lasky re-
quested that Mr.
(Cont'd on page 64)
Ernest Vajda,
Betty Bronson
and Ricardo
Cortez between
scenes of Mr.
Vajda's "The
Cat's Pajamas"
43
H
AVE the films changed in the
last year?" said Irving
Thalberg, the little czar of
the Metro-Goldwyn organization, re-
peating my question. "I'll say they
have. The photoplay has been to-
tally transformed during the last
twelve months.
"A year ago our best stars, direc-
tors and players were moving along
in a mass. Today a few stars, directors and
players are galloping ahead. The rest of the
army is straggling behind. Feature pictures to-
day are really feature pictures, with better
acting and better direction than was visible any-
where on the screen a year ago. And, when I
say acting, I mean acting all the way thru a
picture, to the smallest role.
"Audiences are no longer content with the
average program picture of yesterday, con-
tinued Mr. Thalberg, in paying his tribute to
the present tendency, in many film theaters, to
subordinate the film to cheap vaudeville. "That
seems to me a confession of weakness in picture
making," he said. "It can not last. It is just a
passing incident, an attempt to substitute some-
thing a theater manager can get easily for
something he cant get. Pictures are here to
stay. Nothing can stop their progress.
FLASH
By F. J. S.
We hasten to add Miss Garbo to our list.
Since Pola Negri flashed her smile over Louis
XVs boudoir screen, the films have had no one
so vivid as Miss Garbo promises to be.
Thalberg's belief in the progress of pictures
seems to he proved, on Broadway at least, by
the presence at this writing of a number of
highly successful features: "The Big Parade,
"Stella Dallas," "The Black Pirate," "Ben-Hur"
and "The Merry Widow."
The weakness of Rex
Ingram's "Mare Nostrum"
is another jtroof of Thal-
berg's argument . The
Ibanez tragedy seems four
or five years behind current
productions in directorial
technique. Yet Ingram has
Ipeen away from America
hardly two years. In those
two years, however, the
cinema has burst its bonds,
as Mr. Thalberg contends.
Again the American films seem to have safely
disposed of the German menace. Once before
German productions frightened our native
screen strongholds. We can recall when
Hollywood threatened to arm itself against
"Passion," "Dr. Cahgart" and kindred decadent
films.
However, screendom solved the problem by
engaging Pola Negri and Herr Lubitsch.
Now, with another German advance on the
horizon, our film fathers have signed Emil
Jannings, Lya de Putti, F. W. Murnau and
other threatening figures of celluloidia.
Herr Jannings will be flaying Bebe Daniels'
father before long, Miss de Putti will be getting
engaged to Rudolph Valentino, and Murnau will
be directing Tom Mix. Screendom is like the
ancient Chinese empire. It swallows uj> its
enemies and never loses its bland and guileless
smile.
Last month we named the
sex best sellers of the
screen. At that moment of
mental stress we had not ob-
served Greta Garbo, who
makes her American debut
in "The Torrent," by the
Spanish Elinor Glyn, Senor
Ibanez.
Douglas MacLean
An Impression by Major
Last month we modestly
mentioned the fact that, in
the August, 1925, Classic, we
had selected twenty pictures
out of the years 950 produc-
tions as the probable hits for
the next twelve months. Out
of the twenty selections, we
hit ten positive hits, "La
Boheme," having romped
home a box-ofnce success
since last month. Thus our
guessing average advanced
to .500. We missed just one
hit of the year, "Stella
Dallas."
For next year, we re go-
ings to select twenty-five, of
which fourteen are here
given :
James Cruze's "Old Iron-
sides.
44
BACKS
About Pictures and People
Clarence Brown s "The Trail of 98.
Von Stroheim's "The Wedding March."
"Old Heidelberg," if Ramon Novarro plays
the lead and if John Robertson directs it.
Harold Lloyds "For Heavens Sake.
John Barrymore's "Don Juan.
Lillian Gish's "The Scarlet Letter."
Greta Garbo's next, "The Temptress.
Chaplin's circus comedy.
D. W. Griffith's "The Sorrows of Satan."
Emil Jannings' "Variety," made in Berlin.
Henry King's "Winning of Barbara Worth,
with Ronald Colman and Vilma Banky.
John Gilbert's "Bardelys the Magnificent."
Fritz Lang's German special, "Metropolis.
We'll add the rest next month — when the
next special of King Vidor, whatever it is, will
be included.
tion of an experienced put-
wearer, Sam Wood.
One thing is proved clearly : it
isn't possible to turn out players this
way. The first class of the school
reveals one boy of promise. Buddy
Rogers. But almost any set of
twenty aspirants selected with any
sort of care would disclose one
possibility.
The truth is, as we have said, you cant make
actors this way. The right sort of experience
can only be gained in actual studio work. True,
the students are taught etiquette, proper deport-
ment, swimming, fencing, dancing, how to fall
gracefully, and other of the finer arts.
We cant help being reminded of the remark
made by Richard Dix when he glanced over the
school's graduation program. "Why, I wouldn t
have lasted a week at the school, he sighed,
can swim but I cant fall down with any sort of
grace. I cant fence, I'm a rotten dancer and
what I dont know about etiquette would nil a
book. I certainly was lucky to land in pictures
before they started schools !
We base our selections, as you may note,
largely uj>on directors' ■past performances.
Making a Jist of possible hits, consequently,
gives an interesting insight into the shortage of
good directors. It is possible almost to name
them on the fingers of your hands.
Of native directors, we
would name King Vidor, D.
W. Griffith, Henry King,
John Robertson, James
Cruze, Clarence Brown,
Malcolm St. Claire and pos-
sibly Gregory La Cava.
Of the foreign contingent:
Erich von Stroheim, Ernst
Lubitsch, F. W. Murnau,
Fritz Lang and possibly
Ewald Dupont.
Gone are the Dwans and
Neilans. The list seems to
shrink each year.
Now that the first pupils
of the Paramount School
have been graduated, it is
possible to take stock of
actual results. We have
even viewed a complete
motion picture play made by
the students under the direc-
Since this Page is largely devoted to Predic-
tions, let's venture another.
John Robertson has just joined the Metro-
Goldwyn directorial staff. Robertson has made
at least two pictures hovering on the edge of
greatness: "Sentimental Tommy' and The
Enchanted Cottage!' Thalberg, who helped lift
the promising King Vidor to Practical leadership
of our films, will be able to bring out the best in
Robertson.
Robertson is one of our
best screen stylists. He has
charm, singular appreciation
of beauty and a whimsical
imagination. He has been
handicapped by having to
make star Pictures. Now he
is going to do something
really big — or we 11 miss our
guess.
John Gilbert
An Impression by Major
'Here is a bit of fresh com-
ment by George Bernard
Shaw upon the movies :
The danger of the cin-
ema is not the danger of
immorality but the danger
of morality. People like my-
self who frequent the movies
testify to their desolating,
romantic morality. There
is no criticism of morals by
(Continued on Page 70)
45
Left:
Lillian Gish being
fitted with a set of
stocks for a moment
of "The Scarlet
L e 1 1 e r." Director
Victor Seastrom is
giving Miss Gish and
Lars Hanson final in-
structions for their
scene in Nathaniel
Hawthorne's famous
story
Belotv:
Bill Hart, Jr., snapped for The Classic at
Thomasina Mix's party, pictured on the opposite
page. The glint in the eyes of Bill, St., is re-
flected in the son's eyes. Perhaps Bill, Jr., may
grow up to be a screen two-gun man, too
l'acific & Atlantic
Just a playful moment
between scenes of
Metro - Goldwyn's
"Monte Carlo," di-
rected by Christy
C a b a n n e. Evelyn
Atkinson, otherwise
"Miss Seattle," is sup-
porting Diana Morris
46
J
Oun
OWN
NEWS
CAMERA
Charlie Chaplin's new comedy, "The
Circus," is going to bring a new discovery
to the screen. She is Merna Kennedy, and
she is now playing the pretty equestrienne
of the comedy
Thomasina Mix,
Tom's little daugh-
ter, gave a birthday
party the other day
in Beverly Hills
and all juvenile
Hollywood was in-
vited. Thomasina
may be observed
acting as hostess on
the pony, while Bill
Hart, Jr., is holding
the near-bronco's
head
Pacific & Atlantic
47
The CLASSIC'S Own News Camera
International Newsrecl
Gertrude Olfnstead and Director Robert Leonard have
announced their engagement. Mr. Leonard, you know,
is the former husband of Mae Murray
Lya de Putti, the subject of an in-
teresting interview in this issue of
The Classic, arrives in New York
from Berlin. The pretty Hungarian
is to play in Famous Players pictures
and her debut will be in D. W.
Griffith's "Sorrows of Satan"
International New
Farina, the dusky star of the "Our Gang
comedies, is growing up. Here he is, sport
sweater, dapper cane, yellow shoes and all
48
___________
f
CORINNE GRIFFITH
Soon to be seen as the heroine of "Mile. Modiste," once sung so successfully by Fritzi Scheff
■ vilie
49
The Celluloid Critic
THE cinema ides of March have
come and gone, leaving the laurel
wreath more than slightly askew on
the brow of the silverscreen Duse,
Lillian Gish.
The histrionic talents of Miss Gish
have come to be a sort of film tradition.
We have been told of her genius by
everyone from George Jean Nathan
(not recently, however) to Joseph Her-
gesheimer. She was the lily maid who
walked the lonely heights.
At various times I have been im-
pressed with the Gish abilities. How-
ever, they have never dazzled me since
Miss Gish departed from the Mamar-
oneck plantation of Marse Griffith. I
looked upon both "The White Sister"
and "Romola" as mediocre tests of
genius.
It remained for "La Boheme," built from the Henri
Murger story from which the Puccini opera was con-
structed, to disillusion me completely. Not, mind you,
that "La Boheme" wont be a box-office smash. But it
discloses the limitations of La Gish in ghastly fashion.
Lillian Gish's Limitations
IVAurger, you know, was the first to write of the Latin
Quarter's glamours. Du Maurier and others followed,
but Murger was the pioneer in exploiting Bohemia, with
its amours, its starving artists, its beautiful models and
its gay abandon.
In "La Boheme" Mimi loves the poet, Rodolphc, she
sacrifices everything for her love and she dies — a Camille
of the Paris garrets.
My complaint about Miss Gish is that she does not fill
the role of Mimi. She is pathetic, she is wistful, she is
a Broken Blossoms waif, but she is never the little sister
of the four Bohemians — Rodolphe, Coline, Marcel and
Schannard — who gave her all for love. She has good
moments — Miss Gish is too good a technician to fail
utterly — but she is never Mimi. The performance sharply
defines her limita-
tions. She can play
suffering, broken
heroines — but genius
seems to me some-
thing else again.
The actual honors
of "La Boheme" are
captured by John
Gilbert. Here is an
actor with three
astonishing charac-
terizations in a row :
the prince of "The
Merry Widow," the
doughboy of "The
Big Parade," and
now the poet of "La
Boheme." Any one
of these would make
an unknown into a
star. I am not sure
but that his Rodolphe
is the best of the trio.
It has more breadth,
swing and surety. It
Ball
Frederick James Smith
Adolphe Menjou and Florence Vidor in "The Grand Duchess
and the Waiter"
is a corking performance. Renee Adoree
is a delightful Musetta and George Has-
sell, ex-musical comedy comedian, makes
the role of Schaunard stand out. But
the major credit of "La Boheme" must
go to King Vidor, the director.
Vidor has now pretty definitely proved
himself the best of our native directors.
He injects a spirit and movement into
"La Boheme." The tragic romance
has both color and verve. Music
lovers are likely to quarrel with the cellu-
loid "La Boheme" because it fumbles
favorite situations of the opera. This
can be laid to the scenarist, Fred de
Gresac, who doubtless was endeavoring
to fit the romance to the milk-and-water
way Miss Gish intended to interpret
Mimi. This is not the fault of Vidor,
who took his materials and achieved
admirable results.
"La Boheme" will doubtless be a popular picture. But
I can not forget the Broadway premiere giggles that
greeted Miss Gish when, as Mimi, she fled thru the
woods of the Bois de Boulogne on that gay spring day
with her passionate Rodolphe in pursuit. Mimi was just
a New England schoolma'am fleeting with her histrionic
traditions. Miss Gish will have to do a lot of cinematic
suffering before I can forget that.
Greta Garbo Arrives
\A/hile it is painful to detail the eclipse of Miss Gish,
"it is pleasant to report the appearance of a new
luminary on our screen horizon. The newcomer is a
somber-eyed Norsewoman, one Greta Garbo, who seems
to me to have more possibilities than anyone since the
Pola Negri of "Passion." This Garbo has a fine abandon,
a splendid fire, a surprising sense of characterization.
She isn't afraid to act. That she was able to stand out
of an inferior story, poorly directed, is all the more to
her credit.
Miss Garbo makes her debut in Vicente Blasco Ibanez's
"Torrent," directed
by Monta Bell. The
Ibanez story is a
cumbersome tale, of
a Spanish girl tossed
aside by a young
Castilian dandy. She
goes away, becomes
a great singer and
comes back to the
little town, drawn by
the old love. But, be-
cause of his mother,
Don Rafael Bridl re-
pulses her again and
she goes back to her
footlights and her
high notes. So La
Brunno goes on her
glittering way and
Don Rafael putters
about his fireside in
carpet slippers, sigh-
ing for his lost ro-
mance. Ibanez points
the un-Haysian
50
Frederick James Smith Reviews the New Photoplays
moral that one should seize one'i
moment of happiness when and
where one can.
The [bafiez story
full of claptrap, includ
|H| the dam that
burst.- without hav
anything in
ular to do
with the story.
Monta Hell lias
ed it into
film form with-
out taking any
apparent interest.
i ust a medi-
ocre production.
Still, as I have
said, it has Miss
t iarbo as La Brunno
Here is a genuine spark.
Miss Garbo ought to burn
up the screen with any sort of
logical role. Ricardo
Cortez is pretty colorless
as the drab Don Rafael.
"The Torrent" wasn't
the only Ibafiez novel to
arrive during March. "Mare Nostrum," which Rex
Ingram has been building casually between sun-baths on
the beach at Nice, reached Broadway at last.
Another Ibafiez Story
"Mare Nostrum" unfortunately came along about six
years too late. Translated, "Mare Nostrum" means
"Our Sea," the sea in question being the Mediterranean.
Its story deals with a young Spanish sea-captain who for-
gets his wife and his son when he falls in love with a
beautiful German spy. He becomes a tool of the German
U-boats and, when he comes to his senses, he finds that
he has un-
wittingly
helped kill his
own son. The
spy comes to
her death be-
fore the rifles
of a French
firing squad
and Don Este-
ban Ferragut
himself dies
when his ves-
sel is tor-
pedoed by a
German sub-
marine.
The tragedy
is studded
with the old
war hokum.
Once again
German spies
rush about
with satchels
of germs. The
story itself is
pretty in-
Greta Garbo and Ricardo Cortez in Ibanez's "Torrent"
Lillian Gish and John Gilbert in
"La Boheme"
ferioi [baflei arrived in the midst
"i tin- war hysteria, ai
third rate novelist who
wanted to achieve pub-
licity and to tone his
neutral homeland int..
the world war. With
the return of
sanity, it is pos-
sible to view
Ibafiez clearly.
This is, of
course, beside
the point. Our
case against
"Mare Nostrum"
concerns its un-
healthy note. There
is an extended love
scene before a glass
tank in an Italian aqua-
rium. Here the passion of
the heroine is awakened by
her observance of the way
live crabs are fed to an
octopus. The heroine
thruout the story borders
on the edge of being a case
for Dr. Kraft-Ebbing. The director, Mr. Ingram, takes
a left-handed swing at religion by playing upon an
ignorant and drunken servant and his faith in sacred
emblems.
I credit most of the unsavory nature of the "Mare
Nostrum" to Ingram. I doubt if any picture has ever
nauseated me as did this production. I dont think the
screen is the place for even a long-distance study in per-
versions. True, there are several interludes in "Mare
Nostrum" that are very well done. One comes when
the spy, Frcya Talberg, faces the firing squad. The
other develops in the bowels of the German U-boat.
But these are
off balanced
by one of the
worst con-
tinuities that
has ever
reached the
screen — and
by Ingram's
general insist-
ence upon
harping upon
a n unhealthy
note.
Miss Terry-
plays Freya
Talberg rather
well. She far
overtops An-
tonio Moreno,
who plays
Don Esteban
Ferragut. I n
fact, I cannot
u n d e rstand
how Moreno
(Cont'd on
page 70)
Antonio Moreno and Alice Terry
in "Mare Nostrum"
51
The NORTHERN STAR
By Alice L. Tildesley
"It amazes me,"
says Greta Garbo,
"that these Amer-
ican girls can
manage so many
things at one
time — pictures,
society, love. Me
— little Sweden
girl — can do one
thing on-ly.
Some day I shall
leave pictures and
give all to this
love!"
Russell Ball
mmaa
Sweden girl-
YOU have not seen Greta Garbo unless you have seen
her in a storm.
True daughter of the sea-kings — tall, white-
browed, and most divinely fair — her face lifted to the
sweep of the rain, with a sort of exultation, water drip-
ping from her yellow curls, lashes impearled, a strange
light in her blue, blue eyes.
But you may not walk with her then. She walks in a
storm "a-lone."
She Loves the Sea
c he lives by the ocean, and spends all her time away
"^ from the studio beside it.
"I love the sea, yes. It understands me, I think. It
is like the Old World, it is not happy, it is always yearn-
ing for something that it cannot have. . . . Here you
are all so gay — you laugh — you talk, always very high —
you run about — you live in lights and music, this jazz
music — you are never still
"Me — poor little
come from a leetle con-tree where all
things do not make for happiness.
You — you would go mad if you live
there. No jazz — no party — always
quiet, yes? What would you do?
"American girls, they are wonder-
ful ! They can do everything. They
ride, they dance, they play the games,
they drive the car, they makt their
pictures, they run to parties, and —
they fall in love. So-o, is not that
am-azing?
"Me — poor little Sweden girl — can
do on-ly one thing at a time. Now,
for my new picture I must learn to
dance the tango and to rkle the horse."
She looked down at her trim riding
suit, ruefully. She had just come in
from riding the horse, and her strong,
slim hands turned her black tricorne
hat, slowly.
"That horse ! He is so beeg. They
bring him to me, and I look at him
and he look at me. 'You are so beeg,
I will never get on you,' I tell him.
They put me on him and he stands
still. 'How do you make him go?' I
ask. American girls, you see, they do
not have to ask. They know. Al-
ways they know.
"A Strange Con-tree"
"It is a ver' strange con-tree to me.
But nize. You are all so happy.
Everybody smiles and makes a joyful
noise. I hear mothers say to their
children: 'Are you happy, dear?'
That is what is to you important, yes.
Happiness. In the Old World, we do
not think of happiness at all."
A moody young thing, Greta Garbo,
with the true temperament of the
artist and no idea that the present fad
in Hollywood is to be "just folks."
52
The
Screen's
Newest
Meteor Is
a Moody
Daughter
of Sweden
"T
MIC.
she
suddenly, reaching
the package of
rs that had just
thrust into her
dressing-room, "what
is tan mail? 1
do not understand.
These people,
win do they write to
\\ h) do they
want my picture?
They do not know
me. In Sweden, we
do not have letters
from people we do
not know. Tell me.
tell me what 1 must
dor-
She is so helpless —
90 charmingly help-
--when she
widen.- those almond-
shaped eyes at you !
e has the longest
lashes in the world !"
sighs an enamoured
youth.)
Seafaring Family
Che does not come
of a theatrical
family. Indeed, so
far as Greta know-.
not one of the Gar-
bos before her ever
trod the boards on
any stage. They were
seafaring men, who
must, like Greta, have
loved "the feel of the
wind in their hair."
Greta went to dramatic school in her native city of
Stockholm. Why? She cannot tell you, altho she has
learned much English since that fatal day when she
appeared on the set of "The Torrent" with her first
American word — and so proud of it — ''Hell.'"
The dramatic school, like all such schools in Sweden,
put on an Ibsen play. Greta was cast in a small role.
W hile she waited in the wings for her cue, she could see
a shadow on the wall back of the boxes. It looked like
the shadow of a giant.
"That's Mauritz Stiller !" one of the other players
hissed in her ear.
But Greta thought mure of what she would do on the
stage than of those who might be watching her. She gave
all she had to give. The tall man standing in the door
Ruth Harriet l.nuise
Greta Garbo has corn-colored hair and somber blue eyes. She is naive, oblivious yet
of her success. And she is not yet twenty
of the box was forgotten. . . . Until the next day when
Greta Garbo was summoned to his office.
In Swedish Films
Drkskntly the school was electrified at the announce-
ment that Mauritz Stiller — the great Mauritz Stiller —
had made little Greta Garbo the ingenue lead in "Gdsta
Borling's Saga."
So young she is — not twenty — half-woman, half-child.
Naive. Oblivious of the sensation of her passing. Greta
alone fails to note that most of the men on the lot have
found something to do on Stage One when Greta is
called there, and that they stay there long after that some-
thing is done.
( Continued on page 71 )
53
Manuel, Paris
Sessue Hayakawa has just returned to the New York speaking
stage after four years abroad. He may return to the screen
IT has been said that, when a tree falls in the absolute
solitude of a forest, it makes no sound. And a sup-
position such as this undoubtedly planted the devas-
tating thought in the human brain that nothing we do is
important unless it is seen or heard by someone else.
When we are very small and rock over backwards in a
rocking-chair, we cast a canny
eye about to see whether or not
mother is about before we be-
gin the first blood-curdling yell.
If she is not in sight, and not
in hearing distance, we get up
and try it all over again. As
we grow older, we may begin
to paint what we honestly be-
lieve to be a masterpiece. And
when a careless circle of friends
shouts "raspberries," we pre-
tend we were only fooling all along
and take up stenography.
Eternal Longing
If the friends do happen to find the
painting good, our desire for
praise becomes insatiable. We want
the critics, the world, to give us their
attention, too. The streets of New
York, St. Louis and points west
may be filled with pretty girls, and
we may know it, but the big thrill
doesn't come to us until some dusty
English lecturer .who has never
Old
PICTURES
In New
FRAMES
looked into anything except thru a telescope,
tells us that American women are the prettiest
women in the world.
Fortune-tellers are swamped by intelligent
men and women waiting to hear, "You're very
sensitive, aren't you, dearie? And you brood
too much."
The docks are crowded with reporters waiting
to ask visiting celebrities who have never set
eyes on us before what they think of us. Every
now and then a prodigal son returns to the old
home town after a few years' stay in Paris or
London. And then how we rush to ask, because
we feel pretty sure that he, knowing the native
pulse, will find it in his heart to approve of us.
Just recently Sessue Hayakawa landed in the
United States after three or four years abroad.
He has been touring England in a play by the
late William Archer, the author of "The Green
Goddess," with considerable success. He has
been making moving pictures in France with a French
company. "La Bataille" is the most successful one. I
have proof of his popularity there, for one night when I
visited that ridiculously expensive and aloof resort,
Chariot's Rendezvous, to watch Beatrice Lille, Gertrude
Lawrence, and Jack Buchanan disport before the merry
villagers, I noticed that the attentions of
the entire company were turned toward
the enigmatic Mr. Hayakawa. He even
had songs sung in his direction. That's
fame.
Hayakawa decried the modern
tendency to standardize every-
thing. Clothes, houses, even
whole towns are exactly alike
these days
54
Screen Dramas
are Bigger and
More Expen-
sive, says Sessue
Hayakawa, but
They are Not
Different
By
Sara Redway
Mk. HAYAKAWA is playing in
'"' "The Love City" at present
and later, I hope, he intends to
start west to make more pic-
tures. And he, being an old
hand at the picture business,
must surely, I thought, be
amazed at the progress made by
them in the last few years.
"Well, what do you think of
all our fine new movies?" I
asked, " 'The Big Parade,'
Stella Dallas,' 'The Merry
Witlow, ' to only name a few."
"Very nice, very, very nice,"
answered the imperturbable Mr.
Hayakawa, "but not so very
different from anything that has
been done before. After all, the
ideas are not new nor startling."
"But the productions are
different," I protested.
"Yes, they are bigger and
more expensive than they used
to be. But to make my meaning
clear, please do not think that I
take an aloof and haughty tone
of these undoubtedly fine pic-
tures. I merely say they are
not different. After all, there
are not a great many plots in the world. There is always
a heroine, a hero, a villain. There is always the struggle
between good and evil. The hero may not be a person, it
may be a situation ; the villain may be a war, or some form
of treachery, but the idea of the conflict must be present.
Shakespeare and the Danes
'' V EARS ago. when Shakespeare was writing his immortal
plays, he wrote them not so much for everyone as for
a selected few. The queen and the court wanted some-
thing they alone could understand and appreciate, some-
thing that the common mind would find tiresome or
baffling.
"So his plays were not written to make money by get-
ting it from the multitude ; they were not written to please
all of England, they were written to please a chosen few.
"The thing then was to have something that no one
else had. A house that was different ; a gown made solely
for you ; a bit of music or a poem written for you and
to you.
"But now that is all gone. Everyone now must be like
Muhkin
Sessue Hayakawa believes that to centralize the making of pictures in one
place, as Hollywood, is dangerous. To form a community is death, he says
everyone else. To wear a long dress when a short dress
is in vogue is a sacrilege, all tastes must be alike. A man
will say, 'I wish I had a house like So and SoY ; he doesn't
think of saying, T wish I had my house to my own taste
and of my own design.' With the result that many of
our cities look as tho they were scattered with row
after row of match boxes, all alike, all tiresome. You
find your way to your house by its number, not because
it is different in design.
"Before the war in France, there was much more in-
dividuality. Now with the new houses being built, the
reconstruction going on, the match boxes are creeping in
everywhere.
The Match Box Rush
'The reason for this is simple. French taste has not
changed, but the French are suddenly forced to face
the world commercially. They have not time to play with
ideas any longer, they must get out and hustle. And to
compete with the rest of the world they must hurry, hurry.
( Continued on page 78)
55
-- — -.. . - *m» it„i^
CAME
SPRING!
These are the days when a young man's fancy turns lightly to
the golf-links and the tennis-court. Screen folks are just like
everyone else. Besides, they have to be systematic about their
exercise in order to keep in trim. Ramon Novarro (upper left)
likes tennis best — and he plays a scintillating game. Eddie
Burns (center) is a fast tennis-player, too. Rudolph Valentino
(left) likes boxing — and finds it the most satisfactory exercise
to protect him from that dread enemy of the cinema star,
avoirdupois
56
Tennis and Golf
Are the Favorite
Recreations of
the Stars
The gent on the fly-
ing rings? No other
than John Roche
(above), who plays
wicked lounge
lizards so well. All
of which shows you
never can tell
Despite the riding
habit, Bebe Daniels
(right) is a real —
dyed - in - the - wool —
golf nut. Just back
from a ride, Bebe is
trying a putt on the
lawn of her home
The Hollywood method of putting — with
the hands on the hips — demonstrated by
Vera Reynolds (right)
57
Don Gillum
Director Jack Conway shooting the football scenes of "Brown
of Harvard" with- William Haines as the Cambridge
gridiron hero
International Newsreel
Constance Talmadge marries Captain
Alastair Mackintosh, an Englishman, and
announces she will leave films
Letters to King Dodo
HOLLYWOOD.
Dear Majesty:
Obedient to your request to be kept informed
upon the march of progress in Hollywood, I am writing
to apprize Your Majesty that our immediate craze is war
pictures.
Your Majesty well knows the ovine nature of movie
producers, who all follow each other like sheep when
some bell-wether happens to show the way. It was in-
evitable that the success of "The Big Parade" should set
loose an avalanche of war pictures, altho if anybody had
shown the script of a war story to a producer six months
ago the unfortunate author would have been thrown out
of the office.
But the amazing particular of this situation is the way
in which the various' arms of the United States military
organization have been put to work for the movies.
Lasky had barely completed "Behind the Front," with
Raymond Hatton and Noah Beery co-featured ; Warner
Brothers had no more than christened their war baby,
"The Sap," featuring Kenneth Harlan, than William
Fox went them one better by purchasing the original
stage play, "What Price Glory?" — the play that was re-
sponsible for launching the craze for war-time stuff.
But Metro-Goldwyn had been quietly preparing for
the filming of a leatherneck epic to be called "Tell It To
the Marines." And M.-G. had a contract with Major
General John A. Lejeune, the commandant, giving the
exclusive right for one year to film marines for photoplay
purposes !
"What Price Glory?" is about marines at the front.
Fox expected to take scenes of the real leathernecks in
camp, on the drill field, at combat practice — thus cutting
the cost of extra talent. So Saul E. Roger, his lawyer,
proposes now to sue the United States Marine Corps.
He will allege monopoly, conspiracy in restraint of trade,
and so on. '
58
Our military establishment has never boasted any great
dignity, but the Marines have a tradition to maintain. The
tie-up with the studio must have been made for publicity
purposes, tho why General Lejeune desired publicity for
his leathernecks when there are more applicants than can
be recruited under congressional appropriation is puzzling
to decide.
A dreadful thought comes to me. Suppose it should
be necessary to call out our military again, to make the
world safe for democracy, and we should find that all
our forces had been farmed out to the movies and were
unavailable !
Hollywood.
Dear Majesty:
I am happy to say that now I can supply Your Majesty
with the data on Elinor Glyn requested in your gracious
communication of recent date.
Your Majesty sought to know why Madame Glyn's
characters so rarely die with their boots on, as is the usual
fashion in movies, but endure long, lingering death
agonies in bed. The reason is explained, I think, by the
circumstance that Madame Glyn receives one dollar a
word for her scripts. At a dollar a word Madame's
characters can well afford to utter an ah, an oh and a
couple of ughs before passing into the great beyond.
Even a series of inarticulate gurgles just at the end will
rate a dollar a gurgle.
When I visited Madame Glyn on the set, it was her
Tea Hour. Everybody had stopped work to sip. The
electricians, I noted, satisfied themselves with an extra
chew of scrap.
Your Majesty may recall my mentioning that Madame
Glyn is accustomed to select potential star material by
means of a subtle quality which she is able to perceive
and which she calls for short — It. In "Love's Blind-
ness," the film on which she was engaged, Madame had
International Newsreet
Ren6e Adoree holding two trophies con-
tested for by the 11th United States Cav-
alry at the Presidio, Monterey, California
Director Donald Crisp arrives on the De Mille lot and is kidded
by Directors William K. Howard, Rupert Julian and Paul Sloane.
Crisp has just been signed by Mr. De Mille
By Don Ryan and Frederick James Smith
need of a child for certain scenes. Before her in review
passed the infant genius of Hollywood.
Suddenly Madame exclaimed : "That's the one ! She
has It!" A consultation with the mother, and then the
little girl, who had been instructed to "be very nice to
Madame and be sure and thank her," approached the
presence.
"How would you like to play in my picture?" inter-
rogated la Glyn, with a gracious smile.
Only for a moment did the child hesitate. Then — "I
dont think I care so much about it — thank you !" she
replied shrilly.
Hollywood.
Dear Majesty :
Your study of the cinematic art has already made Your
Majesty familiar with peculiar slogans which rapidly suc-
ceed one another in the mouths of the movie publicity
managers. Your Majesty will remember how in times past,
various parts of a picture have been acclaimed "the
thing." First it was "The star's the thing!" Then story,
director, and all the other elements were so lauded, each
in turn.
But now a new slogan sweeps the boulevards. With
the purchase of the Ella Cinders series from Bill
Counselman and Charles Plumb as a vehicle for Colleen
Moore, the press-agents have raised the shout : "The
comic strip's the thing!"
Very likely they are right, for it has been demonstrated
that more Americans read the comic strips of the news-
papers than any other literature. In fact, they are the
chief intellectual stimulation of our population, from the
Tiny Tot at his mother's knee to the Big Business Man
at his flat-topped desk of fumed oak.
One astute press-agent, who figured slightly in the
Ella Cinders deal — a young man with vision, as we say
in our country — hopped a train for New York and pro-
ceeded to sew up the sales rights on all available comic
strips. The Ella Cinders strip will be utilized by I'irst
National. Andy Gump, the popular national hero, has
already been immortalized by Universal. In a short time
we may expect to see Mutt and Jeff, Jiggs, Barney
Google and other hundred-per-cent. Americans imper-
ishably embalmed in celluloid.
And Your Majesty need not fear that any evil effect
will come out of this daring excursion into the realm of
fantasy. For the young press-agent — the one with vision
— has eliminated any such possibility. Let this idealis*
speak for himself.
"I have," he says, "eliminated those comic strips in
which the sordid and disagreeable predominate and re-
tained only those that possess all the touching, lovable and
human things so dear to the hearts of the great American
public."
Will Hays will bestow his papal blessing on that young
man.
Hollywood.
Dear Majesty :
Suing Harold Lloyd has become the favorite pastime
of American authors — to such an extent that the popu-
lar comedian has been compelled in self-defense to issue
a decree. Hereafter no stories, published or unpublished,
received from outsiders, will be given a reading at the
Harold Lloyd establishment.
As I am in the act of preparing this report to submit
to Your Majesty, the news comes that Lloyd has filed
an answer to the suit in which Owen Davis asks for two
hundred and fifty thousand dollars damages, representing
that the comedian palmed off the playwright's "Xervou<
Wreck" as a movie comedy entitled "Why Worry?" The
suit of Mr. Davis is based chiefly on the circumstance
that in both stories the hero is constantly taking pills —
a favorite laugh-getting device, as Your Majesty no
CLASSIC
Marie Prevost was welcomed at the Cecil De Mille studio, upon
her arrival after her recent illness, by Mr. De Mille himself.
Miss Prevost is to be starred in Metropolitan Pictures
Pacific & Atlantic'
Feodor Chaliapin, Russian basso of the
Metropolitan Opera House, visits Pola
Negri at the Lasky studios
doubt recalls, in the days of the Elizabethan dramatists.
H. C. Witwer, writer of sporting tales, has also
brought suit for two hundred and fifty thousand dollars,
laying claim to Lloyd's comedy, "The Freshman," on the
ground that it is an infringement of a football story he pub-
lished in 1908 entitled, "The Emancipation of Rodney."
Mr. Witwer bases his claim chiefly on the fact that in both
stories the fool substitute goes in and wins the game.
Now if Burt L. Standish were still alive, he would have
sufficient grounds for action. For Your Majesty will
recall in the Frank Merriwell stories, which were read
with such pleasure in your boyhood, that the substitute
always went in at the last minute of play and saved the
game. And very likely the only reason Cecil De Mille is
not a bankrupt today is that Moses had gone to his re-
ward long before the Great Director filmed "The Ten
Commandments."
Lloyd is now engaged in making "For Heaven's Sake."
in which he is probably safe from legal action, because
Anatole France died last year and so far as is known the
author of "The Revolt of the Angels" left no heirs.
Hollywood,
•ear Majesty :
It is improbable to a degree that the fame of Horace
Wade, Hollywood's youngest scenarist, should have pene-
trated as far as Your Majesty's distant Island of Oz.
But in America we are prone to make much of what
Darwin and his successors designate as sports — any
creature divergent from the norm. Infant prodigies are
our especial delight.
Master Horace, who is just turned seventeen, recently
achieved a quantity of publicity by writing for the news-
papers. In these days a seventeen-year-old who can put
an English sentence together is indeed a novelty — of a
piece with the horse that can count — altho William
Cullen Bryant composed "Thanatopsis" at eighteen, and
(which is much worse) Conrad Nagel recited it last
summer in the Hollywood Bowl.
Pardon this digression, Your Majesty. What I mean
to state is that Metro-Goldwyn, sensing the publicity
value accruing to his name, snapped up Master Horace
as a scenarist and put him under long-term contract — to
the envy, it may well be imagined, of Joseph Herges-
heimer and others.
Master Horace signed the contract just before
luncheon. At 1 P. M. he received the assignment for
his first story. He was to do a script for Peter the Great,
the M.-G.-M. dog-star, and bring it back to the studio
in the morning.
I must crave Your Majesty's pardon again, for, in
spite of most assiduous efforts, I have as yet been unable
to ascertain whether or not the finished story received
the star's O. K.
Hollywood.
Dear Majesty:
I have the honor today of imparting to Your Majesty
a piece of advance information that has not yet been
promulgated by the Paramount press-agents, but which
I happen to know is well authenticated.
Mary Brian will play Mitzi, the persecuted heroine of
"The Wedding March," the story which Erich (correct)
von Stroheim will soon begin making. The story was
written by von Stroheim and he will play in it. Mitzi is
his wife, the unappreciated spouse of a philandering scion
of the Austrian nobility.
Needless to say, if she plays with von Stroheim, this
young woman, now trembling on the brink of stardom or
oblivion, will be securely tethered and Paramount will
cash in on their investment in Mary. Mae Busch. Dale
Fuller, Mary Philbin and Zasu Pitts all are von Stro-
heim discoveries. The truth of the matter is that von
Stroheim can make any woman act.
Hollywood.
Dear Majesty :
The latest mot in the Montmartre is the one designat-
ing Phyllis Haver as the eighty-thousand-dollar baby. It
is a good laugh on the boulevard and a startling jolt for
those benighted beings who believe that movie damsels
are beautiful but dumb.
60
Pacific 4 Atlantic
Alma Rubens and Ricardo Cortez arrive
in New York on their honeymoon. They
were married in California
Pauline Starke is playing the leading role in Elinor Glyn's
"Love's Blindness." Here they are having tea between scenes.
Quite English, y' know!
Miss Haver outslicked a retired Omaha business
man in a real-estate deal so badly that the speculator
from the hinterland is crawfishing on his deal. He
has brought suit against the bathing beauty for the
aforementioned sum. Miss Haver, having long since laid
aside the one-piece suit, is struggling towards stardom
in dramatic roles and investing her earnings in shrewd
realty transactions. The Hollywood Chamber of Com-
merce is proud of her.
There is another indication that movie beauties are
developing intellectually. One of them recently appeared
on the speaking stage in a very advanced drama. Leatrice
Joy it was who made her stage debut in a production of
Karl Schoenherr's play, "The Children's Tragedy,"
which, for bedtime reasons, was retitled "The Candle."
It was shown with some success at the Potboilers'
Theater. Miss Joy is under contract to Cecil De Mille
and the press-agent took due notice of her excursion into
the realms of art for art's sake.
I hope that Your Majesty will visit us soon and see for
yourself the wonders of Hollywood.
Hollywood.
Your Majesty :
Corinne Griffith is in line for a big contract when her
existing one with E. M. Ascher, releasing thru First
National, expires in October, and it is known that she
has been approached already with several big offers.
An executive of the Paramount organization offered
her a cash bonus of fifty thousand dollars if she would
permit him to buy up the existing contract, provided it
could be negotiated with Ascher, and the signing of her
services for a period of years. Miss Griffith rejected this
because she does not want to sign for more than one or
two years. Had it gone thru, she would have had her
own unit releasing probably thru Paramount.
Warner Brothers made her an offer some time ago of
ten thousand a week on a contract to start upon the ex-
piration of the present one. As Miss Griffith's husband,
Walter Morosco, has been made a director by Warners
recently, it is thought that company has a good chance of
interesting, altho it is said the star favors an independent
unit and that Joseph Schenck is interested in her as an
acquisition for United Artists.
Miss Griffith's pulling power has steadily developed in
about as bad pictures as any star has had. With "Classi-
fied," a real box-office attraction, she has shown what she
can do with good material. She has completed work in
"Mile. Modiste" for First National and is starting soon
on a Russian story, "Into Her Kingdom." She has two
besides this to make before the termination of her
contract.
New York.
Dear King:
Doug and Mary arrived in town in time for the open-
ing of "The Black Pirate." The usual mob surged about
the Selwyn theater to watch the stars enter, while police-
men shoved, pushed and punched the crowd back.
Patrons with first night tickets literally had to fight their
way into the theater. The New York police department
seems unable to handle a screen opening.
When Cecil De Mille had to jam his way thru the
struggling coppers and- film fans, he said: "We do this
much better in Los Angeles." "Well," snarled one of
Manhattan's finest, "why don't you go back there then!"
Hollywood, /ornia.
Your Majesty .
I know your regal interest in Constance Talmadge.
Consequently, I know you will be interested in details
of her sudden marriage to Alastair Mackintosh, late
captain in the British army.
I hear reports that Connie had a quarrel with
Willie Collie. Jr. Willie and Connie, you know, wen
considered to be hovering on the edge of matrimom
for a long time. Then came the quarrel. Connie had
met the Honorable Alastair but a week before. She
married him abruptly.
And now she says that she's going to give up mo-
tion pictures after her next two pictures and that
she's going to dear old Lunnon to live. We shall see.
we shall see.
(Continued on page 70)
61
Gregory La Cava
IN early youth a young man's fancy lightly turns to
thoughts of ART" — thus might we well start an
extra verse to be added to that famous song. Thus
also, begins the story of Gregory La Cava, the director
"found" by that smiling brute, Richard Dix. Once the
young artist leaves the "ivory tower" and enters the
turbulent waters of the sea of life, the lightness of his
fancy may perhaps be seen — and then comes that groping
for firmer and more concrete foundations upon which to
build the structure of a life. So, again, it was with
Gregory La Cava — the man who, when first he embarked
upon this sea, took the name of George Gregory, that he
might not hurt that other Gregory who
dwelt within the tower — but more of this
anon.
The place was the basement restaurant of
the Famous Players' Astoria studio ; and
the time, lunch hour. Richard Dix gave his
director a warning outline of the questions
I would probably ask (birthplace and date,
ideals, scarlet past, ambition, struggle to
win, age, weight, pets, etc) ; and then, with
one fell sweeping blow, smote me mightily
upon the back — undoubtedly on the theory
that this counter-irritant would take my
mind from any possible sting his words
might have carried.
Now that the background is indicated, let
us focus our attention upon that central
figure who is our subject.
Starting in Rochester, La Cava soon
moved to Chicago, and there entered the
schools and pursued his quest with great
intentness. And, being an artist, naturally
with great poverty.
"Three of us lived in
a room we rented for
eight dollars a month ;
with housekeeping
privileges — when the
landlady was absent."
Meet
La CAVA
With Two Richard Dix
Comedies This Young
Director Has Estab-
lished Himself
By Dunham Thorp
At this time his one means of earning a livelihood-
for, of course, his art could not support him — was
job as usher in the Garrick, a theater owned by th
Shuberts. His salary was the truly munificent sum o
ten dollars a week. His job was, under all circum
stances, to bar every person not possessed of a ticket o
the proper date, size, and color. One day a man entere<
who insisted that the trivial matter of a missing slip o
cardboard should not bar him — nevertheless, he ciu
barred. And this man was Jake Shubert ! He waxet
wroth ; and then gained peace in contemplation of thi:
magnificent example of the steadfast devotion of a lowh
menial to his duty. The usher La Cava's salary wa;
raised to twelve dollars a week ! He was now the wealthi
est member of his circle !
Still he painted on ("I believe I destroyed mon
{Continued on page 66)
La Cava, Richard
Dix and Esther
Ralston between
scenes of
"Womanhandled"
62
The Answer
Man
Replies to CLASSIC Readers
Mamik S. — GreetinKs to thee,
friend; come hither and I will con-
duct thee on a pleasant journey,
ne! Let us reason together.
Ronald Colman is married, but sep-
arated, and Norma Shearer was
born in 1903.
Rfnkk B.— Well, you know what
Shakespeare said, " Tis beauty doth
oft make woman proud ; 'tis virtue
that doth make them most admired ;
'tis modesty that makes them seem
divine." Jackie Coogan's first was
"The Kid."
Lois M. M. — Yes, I have heard
that, but music is the language of the soul ; jazz is its profanity.
Bert Lytell was David in "The Eternal City." Yes, George
O'Brien is playing in "Rustlin' for Cupid" with Anita Stewart.
Pil. — You can write the UFA films at 1540 Broadway, New
York City. I haven't their Berlin address.
Jeanne M. S. — Righto, but moving day comes on May 1st, but
every day in the year is movie day. Vilma Banky in "The Son
of the Sheik." Yes, it is true that Harold Shaw, director and
husband of Edna Flugrath, was killed in an automobile accident
last January. He was a brother-in-law to Viola Dana and Shirley
Mason. The husbands of all three sisters have died, but Viola
remarried recently and is now Mrs. Maurice B. Flynn.
Shorty. — So you think I am getting thinner. I'm on a diet,
you know. Plenty of buttermilk, but no butter or milk. Bert
Lytell is playing on the stage in California. Doris Kenyon in
"Mismates."
Accordion W. — Well, I asked that player how old he was once,
and this is what he said : "As old as my tongue and a little
older than my teeth." Most of the players you mentioned are
with Famous Players-Lasky, 1520 Vine Street, Los Angeles,
California.
Una S. — Well, you know Harry Carey's father was a judge
and Harry came near being one. Henry B. Walthall got him
to go with him and see Griffith at the old Biograph and that was
the beginning of his screen career some fifteen years ago. Yes,
you should see "Stella Dallas." Take plenty of handkerchiefs
with ydu.
Eva R. — But every why has a wherefore. No, Richard Tal-
madge is not related to the Talmadge sisters. Georgia Hale and
William Collier, Jr., in "The Rain Maker."
Elva. — Colorado Springs first became famous by having Lon
Chaney born there. Ten years later the stage claimed him, not
as an actor, but as a stage-hand, then later a chorus boy, then
a comedian, and then came "The Miracle Man" and Lon started
on his way up the screen ladder and never stopped climbing.
Just S. B. T. — Yours was mighty interesting. Someday I will
run up and see you. Well, Ronald Colman, who recently com-
pleted "Kiki" with Norma Talmadge, is to play the leading role
in "Beau Geste." Herbert Brenon is directing and Alice Joyce
has the feminine lead, with Neil Hamilton, Mary Brian and
Wallace Beery in the cast.
Julius A. P. — Gloria Swanson was born in Chicago. I dont
know what her father ever did for a living. Richard Barthelmess
is playing in "Ransom's Folly."
Lady Violet. — That's some violet correspondence card you have.
Claire Windsor and not Mae Murray in "Dance Madness." Billie
Dove, Francis X. Bushman and Grace Darmond are playing in
"The Star Maker."
Juliet J. — Please, please dont send me any more chain letters.
I have all I can do to answer my regular correspondence. HELP !
Hear ye, hear yet All you folki who have queationa
to ask, come thii way and you ahall be heard — and
answered. I have learnt a lot during the laat eighty-
two years, and it's all yours for the asking Been
answering ??? (or the laat fourteen years, and still
going strong. If you want an answer by mail, encloae
a stamped addresaed envelope. If you wish the an-
swer to appear here, write at the top of your letter
the name you want printed, and at the bottom your
full name and address, and mail to me. The Answer
Man, car* of Classic, 176 Duffield Street, Brook-
lyn. N. Y,
The Prodigal Daughter. — What's
that you say about me — "You're
darn, dog-gone, ding-busted clev-ah."
Thanks, my child. No, I am not
related to George Ade, First Aid
or Lemonade. You just pronounce
it Give, with long "I," as in hive.
V. S— All right, win your $10.
Lillian Gish is not and never has been
married. Jackie Coogan's twelfth
birthday will come off on October
26, next. He started his career at
the age of twenty months, but it
was an- accident. His father was
on the vaudeville stage dancing and
singing when the youngster walked out unexpectedly. The audi-
ence laughed and so daddy made him do his bit right there and
then. Charlie Chaplin made him a screen star by getting him
for "The Kid."
Jean M. — I envy your going to California. Best wishes.
Clarissa. — So you think Percy Marmont is a great actor and
has a beautiful personality. Madge Bellamy was born irr Hills-
boro, Texas, June 30, 1903, so now you know her birthday and
can send her a Rolls-Royce. She went on the stage in New York
at the age of five.
Ruth L. — I dont see why it takes any courage to write to me.
You want Richard Dix to choose the right one when he gets
married. How can he do that? Gloria Swanson played in the
following for 1925 : "Madame Sans-Gene," "The Coast of Folly"
and ."Stage Struck."
Sexora de A. — Your letter certainly was full of comment for
James Kirkwood. Norma Shearer's next will be "The Devil's
Circus." "Kathleen Mavourneen" was written by Louise Craw-
ford, an American writer of the nineteenth century. The music
was written by F. N. Crouch.
Quentin F., Hong Kong. — How are you? So you think Mary
Astor is the prettiest woman in all the world? To begin with,
she was born in Quincy, Illinois, on May 3, 1906, and is playing
in "High Steppers" with Lloyd Hughes. I haven't the address of
Lucas Kanarian.
Dolores 19. — Thanks for the gum. You know you can no
longer put a man in jail because he owes money. For that mat-
ter, you can hardly put him in jail if he has money. Your letter
was very interesting. Write me again.
Victorine V. — Railroads killed only 149 persons in the United
States during 1924, while automobiles killed more than 10,000.
So take your foot off the gas. I think you are a very' good type.
But try and get in.
Rose A. — Well, I think you are a very nice girl from your let-
ter. When girls are young they play with jacks, and when they
get older they play with Jacks. You have the right idea. Yilma
Banky and Ronald Colman in "Beauty and the Beast." Betty
Bronson and Ricardo Cortez in "The Cat's Pajamas."
Dot. — Does that end it? Thanks for all you say. John Barry-
more is playing in "The Tavern Knight." Yes, they do say-
that Eddie Cantor, the stage comedian, is going to play in "Kid
Boots" in the movies. Run in again some time.
The Cat. — Well, are you that curious? No. Lillian Gish is
not married, and she never played opposite Ramon Novarro.
That's that.
Alma, England. — So you think The Classic does not use
enough pictures of Pauline Frederick and Alma Rubens? Mr.
Smith, N. B. Well, I guess you are the only one I've heard of
who didn't like John Gilbert in "Tht Merry Widow." *
(Continued on page 66)
63
The Nation of the Happy Ending
Vajda come to his office for another talk.
It was a nice little talk. Mr. Vajda ex-
plained that he had come to New York to
write a play of American life, and was
leaving again for Europe.
But Mr. Lasky felt that travel broadens
one, and that surely Mr. Vajda shouldn't
go back home without seeing Hollywood.
Anyhow, the upshot of the pleasant little
conference was that Mr. Vajda and
Brother Victor found themselves getting
acquainted with the Pennsylvania railroad
— en route to Hollywood. Mr. Vajda was
enabled to make the trip because he had
a contract in his pocket which called for
four original screen stories at a price
reputed to be $20,000 per story — on de-
livery.
Vajda an Exception
Mow famous authors have come and
gone in Hollywood. They come with
a blare of trumpets. They address the
women's clubs. They have offices at one
studio or another. But they go, oh, so
quietly. One hardly knows they have
done. Witness Michael Arlen, who came
to write an original story for the screen,
stayed long enough to give various
luncheons and get acquainted with his
office, and next was heard of back in dear
old London, giving interviews — albeit very
flattering ones — on the subject of Holly-
wood. No, Mr. Arlen didn't get around
to writing a story for the screen. But he
did like his- little trip to Hollywood.
But the story of Michael Arlen is not a
new one. It has been done before, very often.
In fact, it has been done since the days when
Sir Gilbert Parker and a score of other
noted authors were imported to Holly-
wood to write for the screen. They lived
at the best hotels — on expense accounts.
Sir Gilbert, he of the magnificent
whiskers, stayed a whole year trying to
get an inspiration, and then he, too, dis-
appeared. He lent an air of distinction to
the promenade at the Lasky studio — but
he wrote nothing.
So when Ernest Vajda hopped off the
train in Los Angeles, with the usual blare
of trumpets, Hollywood merely said, "Ho,
hum. Another famous author." Hollywood
waited for Ernest Vajda to fade out
quietly and be heard of next in Buda-
pest, giving interviews on the subject of
Hollywood.
A Story for Pola
M1
[r. Vajda went thru all the motions.
He was asked to speak before wom-
en's clubs, and did. He was asked what
he thought of Hollywood and the Cali-
fornia climate, and he said yes — as he
was supposed to. He stopped at the Am-
bassador hotel, and it was announced that
he would write an original screen story
for Pola Negri. It is nearly always an-
nounced that famous authors will write
stories for Pola Negri. But they seldom do.
But then quite startling things began to
happen. The rumor got around somehow
that Ernest Vajda was working. He
also moved out of the Ambassador hotel
because he said it was too expensive.
This, too was strange, because the studio
was paying the bills. Authors seldom
move out of the Ambassador as long as
the studio pays the bills. He moved into
a big spacious house, but not a fashion-
able one.
Mr. Vajda also liked the air and the
scenery. Motoring was such a pleasure
on California's fine roads. So he had
Brother Victor, the business manager,
(Continued from page 43)
buy him a second-hand, medium-priced
coach.
This was what really brought Holly-
wood to life. Authors and actors on their
arrival in Hollywood, usually buy a Rolls-
Royce or at least a Lincoln — on the in-
stalment plan. Mr. Vajda bought a sec-
ond-hand, medium-priced coach, and paid
cash for it.
Meanwhile Pola Negri, who had been
to Albuquerque, or some similar place,
on "business," returned. Mr. Vajda talked
with her, and was seen no more for three
days. Then he appeared at the studio with a
seventy-six-page story, in "treatment" form,
written especially for her. The studio
officials liked it immensely. It was turned
into a scenario, "The Crown of Lies,"
and Pola was starred in it. Brother Vic-
tor rang up the cash-register.
Then— "The Cat's Pajamas"
"Then he met Betty Bronson. She was
a nice girl— so typically American. Mr.
Vajda decided to write a story especially
for her. He appeared a week later with
it. It was called "The Cat's Pajamas,"
and was a delightful story of American
life. The studio immediately accepted it,
and co-starred Betty and Ricardo Cortez
in it. And Brother Victor, the business
manager, rang up another $20,000.
Mr. Vajda had originally planned to go
back to Hungary when he completed the
four stories. But it is now reported he
has a new contract in his pocket for four
more stories, and will remain in Holly-
wood for some time to come.
He has just completed his third screen
original, "The Great Illusion," probably
the greatest story of the three. He wrote
it in two weeks. Hollywood hasn't caught
its breath yet from astonishment.
Incidentally, an amusing story is told
about the experience of the amazing Mr.
Vajda with a publishing firm which de-
sired to turn "The Crown of Lies" into a
novel. They asked him what he would
take for the book rights, or if he would
let them have them for nothing.
"But I am not a business man, I am
an author," said Mr. Vajda. "Why is it
you should ask me to say how much?"
"It will be wonderful publicity for you,"
they said.
"Oh, will it?" explained Mr. Vajda.
"But, alas, I am not a business man."
"Think of the publicity," they said.
"What will you take?"
"I am not a business man," deplored
Mr. Vajda, "but on account of all the good
publicity, if you want the story I will let
you have it for $20,000."
The story rights, needless to say, still
remain intact.
Mr. Vajda's reactions to American life
are startling Hollywood.
His Reactions to America
"I^issing in America is very badly
done," he declared shortly after his
arrival. "It seems your American men
do not understand how to kiss. They
give their wives a perfunctory kiss when
they leave in the morning. I have seen
men, quite as an afterthought on boarding
a moving train lean back and take a ran-
dom shot at a kiss in parting from their
wives — never minding where it landed. It
was an afterthought to business. Kisses
are usually given in haste, in such public
places as subways and railroad stations,
•or on the front-door step.
"Hollywood is the only city where kiss-
ing is properly done. A kiss properly
done should be a long and lingering caress
of affection and deep significance, not a
casual salutation. Kissing is done prop-
erly in Hollywood because the movies
know the technique. It is a beneficial
thing, and I hope the vogue will spread
thruout the nation.
"Hollywood is a city of too many too
beautiful women. It is not alone in the
movies, but in every walk of life — I do
not know why. Venus de Milo waits on
you in a cafe. Cleopatra checks your hat
at the hotel. Beauty is everywhere. Beau-
tiful girls no longer mean anything. They
pall on one.
"The most interesting woman I have
met in Hollywood is a homely one. She
has a fascinating personality and a splen-
did mind. She was such a novelty that I
was entranced. I shall not mention her
name. That would be unfair.
Nation of the Happy Ending
"America is the nation of the happy
ending. This is frequently criticized.
But I believe it is a good thing, because
it expresses a national view-point, a spirit
of youth and strength and enthusiasm.
American life is vigorous, ambitious,
idealistic. In Europe a man is what he
is. If a man is born in a middle-class
family, he expects to remain middle-class.
If he is a beggar, he expects to remain a
beggar, and everyone expects him to re-
main one. In America he would be am-
bitious to become a capitalist in a few
years, and no one would be surprised if he
did so. America makes up in its youth
and strength and idealism what it lacks
in the charm of intrigue and contemplation.
"American women of all classes have
the most beautiful clothes in the world.
Even the stenographers dress well, and
wives of all classes are always well
gowned. But, alas, American women have
not learned that half the art of beautiful
clothes is in the wearing. They buy
more beautiful things, but they do not
wear them so well as European women
wear simpler clothes. This is mostly due
to lack of bearing, lack of taste, or the
belief that spending money will buy any-
thing, and that good clothes automatically
look good.
"Screen authorship means but little in
the realm of immortality. This is because
the screen author thinks in pictures, not
in written words. On the stage, the play
lives, the player dies. Shakespeare will
be living a thousand years from now,
after every great actor who has played
the roles he has created has sunk into an
oblivion that is beyond redemption.
"The great actors of the screen will
continue to live thru centuries, but the
screen authors will be forgotten. I doubt
if Ernest Torrence will ever be forgotten.
Charles Chaplin, Pola Negri, Douglas Fair-
banks, Mary Pickford, Wallace Beery, all
are sure of their niche in the hall of fame.
Yet even a quarter of a century hence I
doubt if more than a handful of people
will know who were the authors of the
great screen stories of today, even tho
they gave these players their roles which
made them famous.
"Authors who think only in pictures
and who do not write in words are court-
ing oblivion. I believe stage authorship
should always parallel screen authorship,
and I shall always continue it, and strive
for greatness in the realm of the theater.
We all desire our meed of immortality.''
64
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65
canvases than Rembrandt ever painted"),
and still he lived in poverty.
About this time, he moved to New
York ; thinking, perhaps, that in a larger
city a larger market for his paintings
might lie hidden. But it was not so — in
New York as well as in Chicago, he
failed to make a living from his art. But
still he persevered. The National Acade-
my, The Art Students' League, and a bat-
tering from one odd job to another con-
stituted his life at this time. And when
the bills began to get a bit too heavy, he
resorted to his mother.
"I thought nothing of it — there was
money there, to be had when I wanted it."
But soon the pressure grew too heavy —
it became absolutely necessary for him to
find some way of earning livable income.
He looked about, and, after some looking,
the field of newspaper cartooning seemed
to offer the greatest opportunities.
But that would mean the degradation of
his art 1 — making of her a vehicle for
existence, rather than expression ! And
later, when he would become a famous
artist, the critics would know of his dark
past, and trace the influence of the comic
strip thruout all his most serious work.
This second thought was more than could
be born — so, to circumvent it, he took his
second name as a surname ; and blossomed
forth as the cartoonist, George Gregory.
As he entered further in this work he
had at first thought of as only a lesser
species of "pot-boiling," he became aware
of the fact that one cannot serve two gods
at one and the same time — that, if he was
to be a cartoonist of any importance, he
must devote his whole time and energy
to it — and let the dreams of his painting
go the way of all other dreams. The
dream faded, until at last the reality ab-
sorbed all his interest, as well as time and
energy.
He was not long in the newspaper game
before the field of animated cartoons —
then in its wailing infancy— began to draw
Meet La Cava
{Continued from page 62)
him. Here it was that he first made ac-
quaintance with the camera — and gained
knowledge that is now invaluable.
"Timing, for instance. I can almost al-
ways tell just how many frames it will
take to make a given gesture."
It was natural that he should use the
animated cartoon only as an entering
wedge into the wider range of the film
industry as a whole, and not as an end in
itself. From cartoons to directing come-
dies for Johnny Hines was but the
first step. And from there his rise was,
for a time at least, steady — to culminate
in a production that was remarkable.
This was a picture called "Restless
Wives" that he made for C. C. Burr, a
producer in the states rights' field. We
have all heard of the impossibility of mak-
ing a presentable picture for the paltry
sum of $125,000 — of the inability to get
actors who can act, decent sets, costumes
— but you know all this fully as well as I.
Well, the cast of this picture was : Doris
Kenyon, James Rennie, Naomi Childers,
Montague Love, Edmund Breese, Burr
Macintosh, Russell Griffith, Edna May
Oliver, and others — and it was finished for
the exorbitant sum of $35,000! — and was
made in seventeen days ! — which, of course,
is the answer to the seeming riddle.
"In the early stages of his career," says
La Cava, "one picture may well ruin a
director. Making pictures with so small a
budget was — well, to say the least, risky.
If, for an extra five dollars I could make
the picture look as tho another thousand
had been spent on it, the picture had to re-
main looking a thousand dollars cheaper!
"But the risk was the main thing. For,
one breaking into the game must watch his
step. If it rains, they fire the director !"
And so it was that, instead of jubila-
tion, he turned back to groping. And to
grope with any prospect of finding any-
thing, he must give his whole time and
thought to it. So he decided to quit the
industry entirely until such a time as the
course to be followed should become clear
in his mind.
And — there was another consideration.
"You know how it is with one of my
type — you get a little money ahead, and
you're not happy until it's spent and you're
broke again — you'd throw the whole world
down for $7.80 !
"I had married a short time before. So
now I took the $7.80, my wife, and the
Buick — and the four of us set forth on a
belated honeymoon."
His groping was not aimless ; nor was
it directed to no point. After a time of
searching, he found a course he felt satis-
fied might lead him up the mountain. This
was : to return and become a director for
Famous Players (there is no vagueness
here — to decide definitely on one company,
and that one of the largest in the field!)
But . one cannot walk into Famous and
say: "Good Morning, I want a job di-
recting."
So he pulled the few strings he had
access to, and secured a job as a sort of
general handy writing- and gag-man. As
gag-man, he was assigned to the Richard
Dix pictures. He met the star and liked
him — and was, in turn, liked by him. But
the course he had set himself called for
the position of director, not gag-man.
An opportunity came: "The Shock
Punch" was dropping badly behind sched-
ule^— La Cava was told to do the last two
reels to help speed up the work. Upon
examination, these last two reels proved
not bad at all — so he was given two in
"The Lucky Devil." He had done two-
reelers in the early days — now he was a
two-reel director in five-reel productions!
Here, Richard Dix took Fate in his
own hands and choked the lady into ac-
quiescence. He requested that La Cava
be given entire charge of his next picture
— this request after the exertion of a
steady pressure, was granted.
La Cava made "Womanhandled" and
"Let's Get Married."
International Newsreel photos
Tom Gallery, and his wife, Zasu Pitts, are going to adopt Barbara La
Marr's son, Ivan. Here are the Gallerys with Ivan and their own
daughter, Zasu Anne
The Answer Man
{Continued from page 63)
Selmy. — I envy you when you say you planted
some watermelons. Yum, yum! They ought to
have plenty of water in them if you planted them
in the spring. Lloyd Hughes was born in 1899,
and he is with First National.
Jane T. — The quotation, "Frailty, thy name is
woman," is from Shakespeare's "Hamlet." Joseph
Schildkraut in "The Road to Yesterday." Ricardo
Cortez was born in Alsace-Lorraine, France. So
they tell me.
Fippie Two. — I'm sorry, but I haven't a cast
for "The Tenth Woman." Why pick out the tenth?
Elliott Roth was Harold. Poor little Farina ! Of
course, he is a boy, and his name is Allen Clayton
Hoskins. Now will you be good?
M. T. — Well, it isn't the way you look at other
girls that spoils you with your sweetheart, but the
way you dont look at her. Conrad Nagel is playing
in "Memory Lane."
F. F. — So you are for Richard Dix, and you
say you have four of his pictures on your walls.
Richard should feel flattered, but what will Rudolph
and the others say?
Pretty Peggy. — Oh, my ! You know Dolores
Costello won one of our popular contests ten or
twelve years ago. So you really saw Alan Forrest
and Marion Mack taking pictures of "The Whip-
hand" right under your window. That must have
been thrilling.
{Continued on page 83)
C6
'
Rambus Mw
Jpanish liquii
Makes any hair beautifully curly
in 20 minutes
THE SPANISH BEGGAR'S
PRICELESS GIFT
By Winnifrtd Raliton
FROM the day we started to school. Charity Wlnthrop
and I were railed the touseled-halr twins. Tom
Harvey nicknamed us that — horrid, rod-headed Tom
Harvey, who used to put burrs In our pigtails and
ancle worms In our Inkwells.
Our mothers despaired o( us. Our hair simply wouldn't
behave. There were Martha Brown. Helen Stahl. Betty
Davis and Leah Cohen — -all with wonderful curly hair.
But Charity and I could never coax ours out of a straight
line
As we grew older the hated name still clung to us. It
followed us through the grades and Into boarding school.
Then Charity's family moved to Spain, where her father
was In diplomatic service, and I didn't see her again for
Bve years — not until last New Year's Eve.
A party of us had gone to the Drake Hotel for dinner
that night. As usual I was terribly embarrassed and
ashamed of my hair. When the bobbing vogue first came
In I had my hair cut. hoping against hope that would Im-
prove Its looks Realising my mistake, I permitted It to
crow again and by New Year's Eve It was Just long enough
to be unmanageable.
Horribly self-conscious I was sitting at the table,
scarcely touching my food, wishing I were home. It
seemed that everyone had wonderful, lustrous, curly hair
but me and I felt they were all laughing or, worse, pitying
me behind my back.
My eyes strayed to the dance floor and there I saw a
beautiful girl dancing with Tom Harvey. Her eye caught
mine and, to my surprise, she smiled and started toward
me.
While there was something strangely familiar about her
face I didn't recognise her — then. No — it — it couldn't be.
About this girl's face was a halo of golden curls. I
think she had the most beautiful hair I ever saw. My
(ace must have turned scarlet as I compared It mentally
with my own straggly, ugly mop. I had never been so
thoroughly ashamed of my hair before.
Of course you have guessed her Identity — for It was
really she — Charity Wlnthrop who once had dull straight
hair like mine.
It had been five long years since I had seen her. There
was everything to talk about, but I simply couldn't wait.
I blurted out — "Charity Wlnthrop — tell me — what
miracle has happened to your hair?"
She smiled and said mysteriously. "Come to my room
and I will tell you the whole story." She was stopping at
the hotel. We excused ourselves and rushed to Charity's
room I listened breathless while she told me this
strange story:
Charity tells of the
beggars gift.
"Our house In Madrid faced a
little, old plaxa. where I often
strolled after my siesta.
"Miguel, the beggar, always
occupied the end bench of the
south end of the plaia. There he
sat all day long, asking alms from
the Dassersby. I always dropped
a few cencavos In his hat when I '
passed and he soor grew to know
me.
"The day before I was leaving
Madrid I stopped to bid him good-
ojf and Dressed a gold coin In his
A Uatchltil MarctlU
palm. That was the best Investment I ever mode.
" 'Htja mia,' he said, 'You have been very kind to an
old man. Dlgamelo (tell me) senorita. what It is your
heart moat desires.'
"I laughed at the Idea, then said Jokingly, 'Miguel, my
hair is straight and dull. I would have It lustrous and
curly."
" 'Oigame, senorita,' he said — 'what you wish Is even
simpler than I thought. Many years ago — a Castlllan
grlnce was wedded to a Moorish beauty. Her hair was
lack as a raven's whig and straight as an arrow. Like
you. this lady wanted los ptlot rizos (curly hair). Her
husband offered thousands of pesos to the man who would
fulfil her wish. The prise fell to Pedro, the droavero. Out
of roots and herbs he brewed a potion that converted the
princess' straight, unruly hair into a glorious mass of
ringlet curls.
" 'Pedro, son of the son of Pedro, has that secret today.
Years ago I did him a great service. Here you will find
him. — go to him and tell your wish. Adios, senorita, voya
con Tios.'
"You can't Imagine. Wlnnlfred, how funny it made me
feel. I did not take It seriously, of course. I never ex-
pected to look up this mysterious Pedro, but some whim
changed my mind and I called a coche and gave the driver
the address Miguel bad given me.
"At the door of the apothecary shop. Pedro, a funny
old hawk-nosed Spaniard, met me. Nervously I stam-
mered out my explanation. When I had finished, he
bowed and vanished Into the rear of his store. Presently
he returned with a bottle which he handed to me.
"By'thla time I was terribly excited — could hardly wait
until I reached home. When I was finally in my room
alone, I took down my hair and applied the liquid as
directed. In twenty minutes, not one second more, the
transformation, which you have noted, had taken place.
"Come, Wlnnlfred — apply It to your own hair and see
what It can do for you."
Breathlessly I watched Charity take a bottle from her
wardrobe trunk. Tremblingly my fingers undid my hair
and applied the liquid.
Twenty minutes later, as I looked into Charity's mir-
ror. I could hardly believe my eyes. The Impossible had
happened. My dull, straight hair bad wound Itself Into
curling tendrils. My head was a mass of ringlets and
waves. It shone with a lustre It never had before.
You con Imagine the amazement of the others in the
party when I returned to the ballroom. Everybody
noticed the change. Never did I have such a glorious
night. I was popular. Men clustered about me. I had
never been so nappy.
The next morning when I awoke. I hardly dared look In
my mirror, fearing It had all been a dream. But It was
true — gloriously true. My hair was curly and beautiful.
Then the fiought came to me I had no right to keep
this great secret to myself. There were thousands of
women Just like me who would
give anything to know my precious
secret.
Ho it has been made available
through the Century Chemists.
They have agreed to act as dis-
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67
S H MERE
O U a U E T
Close-up of a vel-
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There is radiant, happy beauty
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But so many skins have been
robbed of their fine-textured
loveliness. So many show
coarsened pores, and blemishes,
instead of the clear, smooth
beauty that every girl longs for.
And, Oh, the heartaches and
the disappointments that result
ok of Btauty Secrfts
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A Bi
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All up'tO'date scientific advice
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Many beauty secrets told in booklet!
fat*'
Established 1806
68
Has the Great l-/over Become Just a Celebrity?
1 1 onlinued from pogt 21 i
In the libra!"} Ins Ara-
bian wolfhound persii
trntlv thrusts her muxzlc
into your hands, lying to
■ether in youi lap, and a
black, »ei ious Pincher
Dobei man wai ts with
dignit) I'M the caress
The room is dominated hs
iuu portraits «<i Valentino,
much larger than life,
■fending from floor to ceil
I hey arc bj Beltran-
.. court painter of
Spain, who was a guest of
the mo\ it- actor la>t summer.
One picture represents
Valentino in a Spanish or
Smith American rig, sug-
<f stniK the character in
which he suddenly popped
into fame — Julio in "The
Roar Horsemen of the
Apocalypse." The other
portrait — and the more in-
teresting—shows the actor
as El uanxor, the first
Moorish conqueror of Cor-
l The soldier stands
in fine armor, the point of
his drawn simitar resting on the ground as
he looks into the distance over his camp
ird the Spanish city, his quarry. Be-
side him kneels a dark-eyed girl. The sensual
mouth of the chieftain takes cognizance of
her presence, but the eyes look out regard-
less, filled with the larger purpose.
Valentino Abroad
Walentino is an accomplished swords-
man. He loves steel — the fiery point
that licks in and out in fencine : the finely
Valentino's house, high in Beverly Hills, is cracking and slipping
wrought intricacies of old armor, alter-
nately dull and bright.
Exquisite figurines in silver cover his
tables. Mounted knights jousting. On a
cabinet is a gauntlet from the suit of armor
presented by the Count of Nieva to Phil-
lip II of Spain. It is gold damaskeen.
Valentino has brought back from Italy
his brother, Alberto, who resembles him,
lacking the grace and finer lines of figure.
Alberto is squattier, more stolid. His wife
is with him and their son, Jean, a boy
of about twelve. Mario Carillo, the well-
known Italian actor, is one of the com-
pany in Valentino's home
this late afternoon.
I he host i not tall
nor are we I he ominoui
i .tins I ui ■. ■ worked a •!>
ii i>l spirit. \i. MM
ins been able to gel anj
•• in the fresh afi
foi '! I
Valentin dly rn
kiln kcr s and | 10 f I |>orts
man's blotUC 1 1' I
of handion
(.'.liters.
The conversation is of
Europe Valentino lost
KMI.IXMI |,an. I the first
night at baccarat in tin-
Riviera casino. Tht
..lid night he won 200,000
francs and quit The Mas
cot Cafe in Berlin held
only five customers one gala
night and kept two orches-
tras going — a tango and a
jazz. Nobody in (icrmany
is pleasure-seeking. They
are just working an d —
waiting. Paris is as gay
as ever, with (iro's and
the other cafes making
profits in spite of, rather
than because of, the low exchange and the
consequent horde of Americans. Valentino
left two Fraschini cars abroad when he
returned. One will do a hundred and
eighty kilos an hour.
And so on.
Valentino's House Is Slipping
Wai.extino's hill is slipping. Engineers
have been up 'to see it and to rack their
brains for a defense.
The stucco mansion so recently acquired
is cracking. Something must be done. The
situation is symbolic — after the fashion of
motion picture symbolism. Valentino's fame
is full of cracks. Can it be repaired?
He bought the estate in Beverly Hills
with money garnered from the fickle pub-
lic. The sullen winter rains assaulted it,
and like everything in the capital of movie-
land it proved unsubstantial. A reputation
in pictures is likewise subject to caprice and
may crack and easily crumble beneath the
obloquy of the mob.
(Continued on page 78)
The Nordic sneered at Valentino while his women folk thrilled
to this jungle python of a lover
69
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L I
The Celluloid Critic
(Continued from page 51)
could give such a completely colorless
performance. I liked Mile. Kithnou as
Ferragut's wife.
The Lyric "Moana"
LIaving disposed of "Mare Nostrum," I
can turn to "Moana," Robert J.
Flaherty's study in Samoan tribal life, with
a sigh of relief. Here is beauty such as
you are not likely to encounter on the
screen in many a day. It is lyric — and
thrilling.
You will recall Flaherty as the man who
did "Nanook of the North," that study of
man's primitive struggle for existence when
the Arctic winds sweep across the desolate
stretches of Northern ice. "Moana" pre-
sents another — and totally different — study
in man's fight for life under the tropical
sun.
Here the natives of the South Pacific
fish, trap wild animals, transform roots
into bread and win a living from nature.
I doubt if the motion picture camera will
ever catch anything more beautiful than
the way the boy, Pea, climbs lofty palm-
trees in quest of cocoanuts or the way
Moana and his father master a giant turtle
in the deep, clear waters of a coral reef.
Thru this picturing of the daily native
life runs the thread of a romance, the love
of Moana for Fa'angase. Here is the
lyric note, for the two are utterly unmind-
ful of cameras, of conventions, of self-
consciousness. I understand some Cana-
dian censors have barred "Moana" because
Fa'angase does not wear a brassiere. I
can only say that these censors would be
able to see evil in anything.
The native love dance — the Siva— of
Moana and Fa'angase is an exquisite thing.
The film reaches its high point when the
stoical Moana undergoes three weeks of
tattooing, signifying the passing of the
threshold of manhood. Coloring is cut
into the skin by means of needles of bone.
This may seem cruel — but I doubt if it is
any more painful than the broken bones
our own Moanas encounter upon the grid-
iron or the hockey ice. It's all in the point
of view.
Anyway, Flaherty's picturing of the
Polynesian life under the swaying palm-
trees of Savai'i becomes a veritable cinema
poem.
An Adult Comedy
'""The Grand Duchess and the Waiter," a
Malcolm St. Clair effort featuring
the suave Adolphe Menjou and charming
Florence Vidor, possesses genuine sparkle.
This is built upon a French farce by
Alfred Savoir and revolves around a Rus-
sian grand duchess, traveling with her
entourage but little real money, and a
gay and wealthy man-about-town. The gay
dog masquerades as a waiter and wins the
duchess' heart just as she is pawning her
last royal jewel. The comedy is an adult
one, done with intelligence and delicacy.
I congratulate St. Clair for his direction,
and Menjou and Miss Vidor for their
shrewd playing.
In contrast to "The Grand Duchess and
the Waiter," "Irene," Colleen Moore's
adaptation of the musical comedy of some
years ago, is just comic strip hokum. The
story ?. A wealthy young man falls in love
with an Irish hoyden who delivers bundles.
Your liking for "Irene" will depend upon
whether or not you like Miss Moore's
hoydenisms. I dont. I know I am in
the minority because Miss Moore's com-
edies are what they call box-office wallops.
So you must use your own judgment her*.
Personally, I think this comedy, directed
by Al Green, is slower than some of this
star's recent efforts.
I liked Richard Dix's newest comedy,
"Let's Get Married," immensely. This is
just the story of a rich and rough playboy
who gets sent to jail for thirty days. Dix
keeps improving in his comedy and Edna
Mae Oliver scores a real hit as one /. W.
Smith, the world's biggest buyer of Bibles,
who likes to play in cabarets when she
isn't following the straight and narrow
purchasing path. Lois Wilson is a pleas-
ant heroine. A whole lot of the credit for
"Let's Get Married" goes to the young
director, Gregory La Cava. Better watch
this La Cava!
Letters to King Dodo
(Continued from page 61)
New York.
Dear Majesty :
Lya de Putti has arrived in New York,
slightly upsetting the placid calm of Man-
hattan.
She was taken ill right after her arrival,
finally going to a New York hospital for
an operation. In the interim she received
reporters while reclining in bed, strikingly
negligee and smoking a cigaret.
Anyway, Lya gets the role in Griffith's
"Sorrows of Satan" for which so many
actresses were considered. Greta Nissen
had it once, before the quarrel that re-
moved her to Universal.
Hollywood.
Your Dear King:
The screen colony out here is all agog
over the Pola Negri-Rudolph Valentino
"engagement."
You know, of course, that Pola an-
nounced her engagement to Rudy, stating
that it was in the nature of a "four months'
trial engagement," covering the period of
her coming trip to Europe.
This announcement was followed by
several days of dead silence from the
slipping Maison of the Sheik. Then came
Rudy's statement that he had never men-
tioned marriage to Pola at all. Moreover,
he said the engagement was news to him.
And there you are, Your Majesty. May-
be they're engaged. Maybe they're not.
Maybe it's just press stuff. And, again,
maybe Pola is interested and Rudy isn't —
now.
Flash Backs
(Continued from page 45)
ridicule or otherwise; no exposure of the
unpleasant consequences of romantic senti-
mentality in real life; nothing that would
give a disagreeable shock to the stupid or
shake the self-complacency of the smug."
Meanwhile, the censors of New York,
Pennsylvania, Ohio, Kansas, Virginia,
Maryland and Florida still are busy with
their scissors.
70
Making "The Big Parade"
ntinutd from pagi
tins principle in anothei !>i^
I hope, .m>l 1 shall apply
possible to .ill m\ pictui
luestion "I the development of " Hie
is been raised fre
tin- picture scored on I
he ^t.'i \ is credited on the -
tilings, who was co authoi
■ i the >|».kc" wai play, "What Price
It can he said with authorit) (and 1
mi not quoting Vidor here) that few
i Stallings' original story outline
emain in "The Big Parade" as it stands
n celluloid form.
"1 owe to Stallings the courage to go
ihead and make 'The Big Parade,' " says
i might have doubted or faltered
it He gave me the enthusiasm to
How "The Big Parade" Grew
Thkrk was, for instance, no inarch thru
Belleau Woods in Stallings' original
story. The shell-hole episode was there,
nit the cigaret-sharing moment was not.
Mailings contributed the early doughboy
>ath scenes, but other important incidents,
;uch as the gum-chewing interlude, were
levised as the scenes were developed be-
fore the camera. That the hero ends with
Hit one leg was created by the scenarist.
Perhaps it was suggested by the fact that
Stallings lost a leg in the World War.
In other words, Stallings supplied the
dea that a story' of the war could be told
■vithout the usual saccharine bunk about
nilitarism. He contributed the requisite
;nthusiasm.
The rest of the success of "The Big
Parade" is due to King Vidor and the
»ble and sincere assistance of John Gilbert
ind Renee Adoree. Vidor had been mak-
ing good — and, in several cases, extraordi-
nary— pictures for years, but he hadn't
.aught the eye of the public.
The Northern Star
(Continued from page 53)
"Why should they look at me? They
do not know me."
She wears her corn-colored hair straight
back from her classic brow in a long bob
that curls at the ends. She uses no make-up
and the California sun has not had time to
spoil the wild rose and lily white of her
complexion. Nothing can take away the
haunting sadness of her eyes.
Perhaps it was her eyes, perhaps her
sensitive lips, perhaps her very real charm
— or it may have been something deeper
that Mauritz Stiller caught and imprisoned
on the screen in the "Saga."
Whatever it was, it reached out magic
hands and transported the young unknown
from the snowy shores of Sweden to the
sunny beaches of California. And here is
the way of the thing:
Louis B. Mayer makes it his business
or his pleasure to view in his private pro-
jection-room all important foreign films.
Sitting in his easy chair one day, Mr.
Mayer saw Greta Garbo looking tragically
out at him.
Signed for America
"Rl'N" that again," he directed, when the
film was finished. And then : "We'll
get that girl."
Fred Xiblo was then in Rome working
m "Ben-Hur," and Mr. Mayer had planned
o to see him. On that same trip, the
-M head proceeded to Stockholm,
(Continued on page 77)
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MEN
(Continued from page 23)
The Girl of Today
"Dut now a girl goes to work at seven-
teen or eighteen. I am not speak-
ing of girls from well-to-do families,
altho sometimes they work, too, but I am
speaking of the average girl. She is
thrown with all sorts of men. Her judg-
ment grows sharper. She learns the value
of money, so her demands grow larger.
But it is not her fault that she is working.
Her parents can not give her the pretty «pRETTY soon propinquity takes its toll
things she craves. Organdies and dimities tv.p vnnno- muni* o-pt marnVH
made by the village dressmaker do not
as a signal that she must hurry down an
make it snappy. He doesn't get out an
come to her door. And she doesn't de
mand it. If she did, he would drive t
the very next house, and get another gir
just as pretty, just as smartly dressec
and her evening would be lost. An eve
ning is a very long time when you ar
eighteen.
Toll of Propinquity
look well when placed side by side with
Patou's latest sport creation.
"The terrible tragedy of girlhood must
not defeat her, the tragedy of being dif-
ferent from the rest of her world. So she
goes out to seek her fortune, like the
princess in the fairy-tales. And like them,
she dreams that by some magic, she will
land on her feet.
"And she, too, has her idea of an ideal
man. At least, she has at first. But her
desire to have a good time, to see what
she can while she can, the latest play, the
newest cabaret, leads her to accept all
kinds of invitations from boys earning
very little more than she is. They are
not exactly what she wants, but they are
the only youth with which she has any
contact. The pleasant, lazy, good-na-
tured young boy who drives up in the
latest sport model, and blows the horn
The young couple get married. The;
feel that the beautiful excitement of thei
youth must keep up. Her husband spend
a good bit on his clothes, and she know:
that she must not get frumpish herself
Hasn't she read of the horrid fate tha
will be hers if she once lets down. Mone?
is scarce. The good-looking young bo;
just doesn't seem to grow older. Hi
doesn't develop into the man she hopec
he might be. His father gives him :
small allowance and it seems enough t(
him, but not to her. She has been oui
in the world and knows better. There i;
no use being mistress of a home thai
consists of two rooms and a kitchenette
All very well to pour tea from the ole
family silver, polish the priceless walnut
wash the egg-shell china with your very
own hands, and graciously administer to
the lovely romping children. But if the
family teapot is a cocktail shaker, the
(Continued on page 83)
72
Iirulrr. Krrlm
Lya de Putti as the acrobat heroine
of "Vaudeville"
The Toast of Berlin
(Contimied from path' \{>}
0 in the first year after her husband's
icath, sonic two years ago, when she ac-
ually plunged into work and hardly ever
ud (or wanted ) a single day out of the
tadJO for more than a year.
Her latest productions have been for
The first of these, "Vaudeville,"
lirected by K. A. Dupont and co starring
m with Kmil Jannings, will be .seen on
(roadway before long. And the same will
irobably hold good for her latest picture,
ust finished. This is "Manon Lescaut,"
lirected by Dr. Robinson. This, indeed,
las been a part most ideally suited to
his artist
As regards her private life, I should
Motion at first the fact that she is
i very good Catholic and never fails to
o to church regularly. It would, how-
ver, be wrong to suppose that pious as
he is she would be averse to any joie dd
•tire. On the contrary, she likes to have
. good time and to spend her evenings in
uerry company, dancing and enjoying her-
elf. As a matter of fact, she is known
o be the life and soul of every party,
,nd altho she has learned German quite
veil by now, there is no end of teasing
ler for her rather pretty Hungarian accent.
Up to the moment of leaving Berlin, she
vas busily learning English, everybody
iclp'ng her to accomplish this task as
luickly as possible. As a matter of fact,
he was taking this work just as seriously
s her screen work — and that seems a lot !
^nd she had mastered quite a nice smat-
ering of the language.
As regards her private hobbies, the best
me could say of her would be that she
s a "sportsman" in every sense of the
vord. Practically speaking, she is quite
i keen (and rather reckless) motorist, and
he also likes to go up into the air, and
ven knows how to pilot an aeroplane,
iltho, between us, I would not advise any-
body to entrust himself to her aerial abili-
ies before having closed a considerable
nsurance deal.
She told me that she is looking forward
o her American trip. She will be accom-
>anied by her mother, whom she is very
!evoted to, and, as regards blessed old Cali-
fornia, she is expecting a fine chance to
io a lot of good work.
• ' *'.
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74
Joby from the Tennessee Hills
(Continued from page 39)
Jobyna, "Poor
old Sam was
blind and when
he heard us all
yelling and
running, he
ran, too, but he
ran toward the
lion. When we
were all para-
lyzed with fear
he'd be hurt,
one of the
spear-bearers
jabbed it at the
lion and it
went the other
way. We
thought him a
hero, that boy."
"But he
wasn't really,"
said Roy, "he
was too scared
to move and
when the lion
got near him
he started to
drop the spear
and the lion
thought he was
brave."
Jobyna and her mother
Doing a Hula-Hula Girl
T\ o you remember the day I was a hula-
hula girl and you were in my tribe
and we were working by the ocean?"
cried Jobyna, "We'd made up pur arms
and legs with brown powder before we
left the studio. The day was so hot we
said : 'Let's go swimming !' and when we
came out we were white. instead of brown
and had to play the rest of our scenes that
way ?"
"Whenever the script called
for anything exotic in the
way of shoes," explained the
temporary guardian of
Jobyna's "props," "I wore
bedroom slippers."
"And I wore a pair
of sandals thru
everything!" bubbled
Jobyna. "They were'
so comfortable! They
went tripping over
desert sands, into
slum cellars, up
palace stairs and into the
ballet. Even the girl of the
wide-open spaces and the
pert Fr&nch maid wore
them. It didn't matter.
"After a year of that —
my, how I thrill now when
I think of it ! They called
me up one morning and
told me to come to the lot.
I thought I was to do an-
other one-reeler, but
when I arrived, they
said: 'Get into Mil-
dred's clothes, quick.
You're to be Harold
Lloyd's leading
lady !'
Selected By
Lloyd
"I'd met Harold
on the lot, of
course. I re-
member how de-
comedy
lighted I wa
the first titn>
when he shool
hands a n (
smiled. I didn'
know then tha
it was his reg
ular compan;
smile a n (
wasn't specialh
for me !
didn't wash mj
hand for ;
week!
"It seemec
that Mildrec
had expectec
to be able tc
work in Har-
old's pictur<
and in a fea-
ture outside
but she had toe
much to do and
couldn't make
it, so Harold
said : 'Get the
little Ralston
girl!'
"Most girls
who are to be
leading ladies
to stars have to go after the job, take
screen tests, and worry for weeks for fear
somebody else will get the job, so that
when they are signed, they are too ex-
hausted to care.
"Mildred's clothes were a good fit ex-
cept that the sleeves were too short, and
there I was being pinned into them, two
people lengthening my cuffs, more people
fixing my hair, putting on my shoes and
the whole lot shouting : 'Hey, Joby's
going to be Harold's leading lady!'"
"I'll bet Jobyna ran up and.
down the stairs ninety times
before she was ready," chuckled i
Roy. "Buzz-buzz came from
every dressing - room and
office. It was halleluia
day for us all, we were so
tickled about Joby!"
"I was so scared!" re-
membered Jobyna. "We
began with the blue pills
scene in 'Why Worry" and
my hand shook so that I
spilled most of them. I
heard my teeth chatter.
No doubt Harold heard
them, too . . . And now
I've been working with
him for four years !
Pour Years as Leading
Woman
"It's great. I'm the only
girl on the lot and
they've practically ruined
me. I dont know what I'd
do on another lot. I was
visiting Bebe Daniels the
other day and if she
wanted anything, she
called a maid and it was
brought, just like that!
... If I want any-
thing, I can go get it!
"We work so long
on a picture — six or
seven months — that
every dress I have has
to be duplicated, or
triplicated, and I Set
(Continued on page 86)
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01926
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Silverscreen : The Model Movie
Community
lightei tide of ln>' '" Silverscreen Aided
ie natural topography, the communit)
(bounds with tennis com ts,
cs> trout po ils, tobog i" an si ides,
bowling-alleys, polo fields, hull nu^s. velo
. i i< Ut pitches, (;i ulii ..us, dia
Is, pciils. emeralds ami ai|iiamarincs.
a:,.- the rule rather than the
'i. hi.
\ U itun 'I tin' sporting side oi Silver-
•i i> its "May Walk." Led In the
house mothers ami flanked In a troop ..i
:i lull dress uuiiorni, the «irls
tin- various dormitories, dressed in
lawn, march in a column ot two's
to the great statue oi Will II Hays, which
un.l exactly in the middle ot (
B, De Mille Boulevard, the principal thoro-
Wrea thing the statue with smilax,
the> march singing hack to their quarters,
where foi the rest of the day "open house"
is held, culminating at eight o'clock in the
evening with a wild weenie roast. Each
girl may unite a "boy friend," tor whose
behavior the management is not ace. united
responsible. Saturday afternoons mixed
bathing is held in the huge Byzantine
Swimming Pool in the fashionable Fau-
bourg de la Marquise de la Falaise de la
Iraie. Armed guards patrol the pool.
Other amusements are occasional lec-
tures in the Town Hall, going to the
movies, "yessing" the producers and com-
pulsory chapel attendance. Sunday is given
over to meditation and catching up with
correspondence. The town hell tolls every
halt -hour for prayers.
The Amusement Committee is always on
the watch tor suggestions for additional
healthy, clean amusements, preferably with
an educational value. Suggestions should
be made out in triplicate, and will go thru
the usual channels — the Gowanus Canal
and the Culehra Cut — to be acted upon in
order of their receipt.
As was stated previously, Silverscreen
Is Mill oil till' p.ltl I. Ill hal s\ •trill. ..I "P
is .ilu.is s i luht." 1 hlls, the inhabit
an- virtual!} all brothers and li
and, being such, tin- breath "i icandal is
complete!) hushed lis the 1 isterine o"l pub
In- approval. ( lutside ol tin- house motl
the Police Bureau, the Supervisors, 1 1 » » -
various Administr: tin
Board ol Censorship, the Supreme ( ouncil,
the militia, the inquisition, the articli
the constitution, tin In laws and the si •
hundred and eights two commandments
(expanded and improved from the original
Ten), there is practically no government.
An effort is made to give every inhabi-
tant the opportunity to enjoy esistei;
the lull. It the criticism is passed that
Silverscreen goes out ..i its way to I"
Secluded and cloistered, that full machine
gun crews are posted night and day at
three- foot intervals on its Great Wall, an
swer is made that quite likely the
in front oi the cages of a ZOO an- plan. I
there tor the protection of the animals.
As a matter of fact, visitors are wel-
come, nay urged, to visit Silverscreen.
Visiting days ire fuesdays and Indus
and informative guides are always ready
to conduct groups over the premises, ex-
plaining fully, where explanation is r
sary. Not that much is necessary, i..i
Silverscreen — the Cradle of Celluloid Cul-
ture— speaks for itself in a fine, clear
tongue, discoursing books in its running
brooks and sweet sermons in every one of
the semiprecious stones that compose the
ornate facade of its First National Bank.
"You owe it to yourself to visit our
marvel-city," says Morris F. X. Horsbach,
Chairman of the Reception Committee.
from whose brochure this abstract has been
made. "Dont be a short-sighted fool and
miss the wonderful chance."
"Or," concludes Mr. Horsbach, "in the
words of the Neapolitans' favorite quota-
tion— 'See Silverscreen and drop dead!'"
The Northern Star
(Continued from page 71)
where he not only signed (ireta Garbo, but
Mauritz Stiller and Lars Hanson, the lead-
ing man. Contracts delayed their coming,
but a year later all three could answer
roll-call on the Culver City lot.
Mauritz Stiller is scheduled to direct
Greta in "The Temptress," for which she
is thankful.
"I shall be at home with him. My first
picture I make with an interpreter and it .
is not easy, no. I am not sure I have
always what the director is saying.
"In American everything is so beeg.
Our whole studio in Sweden was not so
beeg as one of these stages. Its top was
open so that when it rained or snowed —
oh, we have snow in Sweden!" (How her
blue eyes glow!) "When it rained or
snowed, we could not work. It som-times
took six months to make a picture. But
everybody does not hurry so there. We
can. as I say, do but one thing at a time.
"Here I can do but one thing, yes. I
make pictures. I give my life to that. I
wish my pictures to be good. I wish to
learn how to do all these things American
girls do so ver' easily.
"I swim, yes. I tell you I lof the sea.
But I swim a-lone."
That aloofness of hers is intriguing.
Messrs. Seastrom, Stiller and Hanson,
who live in the Swedish colony down by
the sea, also, speak of seeing Greta taking
her lonely walks where the sunset stains
the Pacific and its glory of gold and rose
silhouettes her straight young figure as she
moves with rhythmic Viking grace over
the silver sands. . . .
Greta — and Love
"QO-O, you wish I would talk about
° love?
"I do not know about it. I have said
how it amazes me that these American
girls can manage so many things at one
time — pictures, society and love.
"Me — little Sweden girl — can do one
thing on-ly. Som-day I shall leave pic-
tures, perhaps, and give all to this love. . . .
Or I shall learn to do two things together,
as you do. . . . But I do not know.
"I tell you. . . . How I would like to
have a leetle cabin high up in the moun-
tains som-where ! How I would love to
have that leetle cabin, all to myself, where
I could be a-lone! It should have beeg
trees about it and no other houses — no. . . .
But I could see the sea, yes ... I could
see the sea !"
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Has the Great Lover Become Just a
Celebrity
The Valentino engineers have been rack-
ing their brains for a defense of fame. In
"The Eagle" they tried comedy, which was
not altogether successful. Now they will
go back to the greatest hit of Valentino's
career, on the principle that what pleased the
public once will be enjoyed a second time.
Valentino will start soon on "The Son
of the Sheik," a sequel, by the woman who
concocted that aphrodisiac for high-school
girls. He is hopeful about making a com-
plete come-back with it.
The same machinery of excitation will
be employed: that delicious, masochistic ap-
peal of the fair girl in the strong hands
of the ruthless desert tyrant. But in the
second opus the young sheik does not ab-
duct the beauty because he desires her.
He hates her at first, but comes to love
her. This is a far less original idea than
the first of E. M. Hull, elderly authoress
of the passion-in-a-desert books.
Vilma Banky will do the girl. She is
blonde and the heroine is described as a
dark French beauty. They are making a test
of Vilma wearing a black wig for the part.
Frances Marion, who has a reputation
second to none as a scenarist, will do the
script. George Fitzmaurice, with a num-
ber of recent successes under his belt, will
direct. Valentino said frankly that the
first sheik picture was abominably done. He
hopes for a more artistic product in the next.
Cut will the movie public appreciate a
more artistic product from Valentino?
Or can the same machinery of excitation
again arouse the stolid damsels of the hin-
terland igloos?
That remains to be seen. I am afraid
Valentino is on the wrong track. His suc-
cess as a sheik is so wrapped up with
the outworn fancies of a few years ago.
The very word sheik is falling into disuse
— a transient slang term gone to its early
grave. Sheik, because of its former uni-
versal usage, has acquired the half-
humorous, half -contemptuous insignificance
of all such words.
Valentino's fame rests upon his physical
charm. He was the first man in the
movies to whom the term &ex appeal was
applied. Postmeridian maidens, baffled
wives of husbands who have never learned
the ABC's of love, and adolescent girls,
feeling the first powerful surge of Mother
Eve's blood in their veins — these were the
materials ready to his hand.
These thwarted women had been treated
in the movies to strong, noble heroes —
chaste Nordics who could fight like hell,
but made love like butcher-boys.
Suddenly there dropped a burning meteor
from the skies. The thrilled and aston-
ished womanhood of America saw for the
first time a real Latin lover — not the re-
spectful pachyderm they were accustomed
to, but an oily, jungle python of a lover,
who mastered you with silken cruelties, who
{Continued from page 69)
went after you with the appetite of a
hungry but well-bred dog.
Worsting the Nordic
\Io wonder American manhood sneered at
"Vaselino." The poor Nordic was
sadly worsted. Ungraceful, overfed, with
his uncouth hands and feet — the fellow who
had always accepted the credo of manli-
ness as synonym for awkwardness was out
of the running. What good was it that
he could sell more automobiles in a day
than the rest of the sales force put to-
gether? What mattered it that his lapel
glittered with the recognized symbol of the
Nobility of North America? Beside this
sleek-haired son of satan he was an oaf.
So the Nordic sneered. And his girl
giggled — and the next time went to see
Valentino alone, or with Mabel, her girl
friend.
And in the subtle way that is inexplain-
able, the admiration for Valentino as an
actor was transferred to a personal inter-
est among the women. His divorce from
Jean Acker came to fan this interest into
a flame. Again the worsted Nordic sneered
about "Vaselino" to his girl.
Valentino married once more and the
newspapers made capital of "artistic tem-
perament." Valentino's second divorce has
had the effect of destroying the last shred
of interest in him as an actor. Whatever
he appears in next he will be viewed, not
as the son o*f the sheik, but as the ex-
hu band of Natacha Rambova — and won-
der if he'll marry Pola Negri?
Pola.has a curious faculty of becoming
involved with famous fellow craftsmen.
First Chaplin, who outwitted her. Valen-
tino, it is true, is being more or less
obviously pursued. I dont think he is
greatly interested.
Helpless Before Popularity
Tr Valentino could gradually have risen to
fame, in the cautious, substantial way of
Jack Gilbert, for example, his future would
be more secure. But he was helpless in
the jet of popularity that shot him up to
the zenith. He has taken his fame where
he found it — as every movie actor has to do.
Unpopular in his native Italy — because
he recently became an American citizen —
he faces, in the land of his adoption, the
uncertainty of a star making a come-back
in the midst of keen competition. For
the vogue set by Valentino has produced
a whole flock of dark-eyed lovers, equipped
with sex appeal and suave address and the
advantage of new faces.
The son of the sheik must win his way
under the severest handicap in the world —
'that of having a famous father. It is a
pity. Today the Great Lover is chiefly a
celebrity.
A no yet, Rudolph Valentino, nee Gug-
lielmi, is really a very good actor.
Old Pictures in New Frames
{Continued fro
and build faster, and faster, factories,
houses, stores. They must join the parade.
"They haven't made many pictures nor
have they made very good ones. Condi-
tions haven't been satisfactory, and they
weren't very interested in doing it. But
now they see that there is great money to
be made in pictures, and that the United
m page 55)
States and Germany are making better
ones than they are. So now they are be-
ginning to try.
"But I do not believe that any country
can compete successfully with this one.
We have the money, the climate, the stu-
dios, and the best stars. You can not
(Continued on page 86)
78
Famous Blunders
nlinued from /M<yt- 17)
ol it. In fact, since leaving
"l> \\ 's" guidance, Barthelmess In-, done
ili. in cvci before. Marj
ford, oi com se, is anothci who sue
full} broke awaj from her sponsor,
the comedians, ihc most noted
bhindei was made b> l-'ord Sterling.
Back m the old Mack Scnnctt Keystone
days, Sterling u.is the king pin ol all
■i comedians. 11^ films drew packed
bouses whercvci sluiwn. It seemed as
n there would be n>> stopping him from
nj; the idol oi tin' da) .
Mistakes of the Comedians
I' ime cause or other, Sterling
ddenl) terminated his contract with
Mack Sennet t and started in t«> make his
own comedies. Awaj from the Sennett
Studios, however, Sterling seemed to lose
much of hi-^ former power and persori-
ality. It wasn't long before he was down
among the "also rans."
In the meantime, Sennett, casting about
- imcone to take Sterling's place, be-
to feature a young man by the name
harlie Chaplin. Chaplin's rise was as
rapid as Sterling's fall, and soon the
little comedian with the funny feet was
all the rage. Sterling was never able to
regain the same popularity. 1 1" he had
remained with Sennett, Sterling would
today have been one of the foremost
comedians on the screen.
There are some who are of the opinion
that Harry Langdon has made a mistake
in leaving Sennett. Langdon, however,
is a creative artist and there is little doubt
but that he will made good, now that he
is producing for himself.
Nazimova's Descent
Qxf of the most sudden stellar descents
in the film heavens was made by
Nazimova. Thru dint of excellent pic-
tures and remarkable performances, Nazi-
mova had risen a few years ago to the
point where she was considered one of
the six biggest attractions on the silver-
sheet. Suddenly, and for no cause ap-
parent to the general public, Nazimova
i to skid rapidly down grade. Her
films were inferior and her playing
lacked the old fire. The answer was,
Nazimova had blundered into the idea
that she was not only a great actress but
a great producer, director and business
woman combined. Attempting to give too
much attention to production matters,
which should have been left to others, she
neglected the talent and screen person-
ality that would have placed her at the
top. Screen disaster was the result.
Once a star starts to slip backwards in
the public's esteem, it is almost impossible
for him to recover and go forward,
again. Several have tried, few have
succeeded.
Valentino is now faced with this very
task. Rudy made two great blunders,
each in itself enough to sink completely
the average star. His first mistake was
in allowing the term of "Sheik" to be-
come too firmly attached to him. The
Sheik error was but a momentary fad
and the American public quickly set them-
selves against it. Valentino is still suffer-
ing, however, from his connection with
this term.
Valentino's Slips
J^vdy's other error was in quitting the
screen at the moment when all things
were working favorably for him. During
his absence, Novarro and Gilbert all
forged to the front and won many hearts
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that were formerly Valentino's. Accord-
ing to late announcements, Valentino is
going to make another Sheik picture.
This film may be momentarily success-
ful, but it will have an after-effect that
will do the star irreparable damage.
William S. Hart also made the mis-
take of quitting the screen at an inoppor-
tune time. The Western film was just
coming in vogue, and during Hart's ab-
sence from the silversheet, Tom Mix,
Buck Jones, Hoot Gibson and others
stepped into the limelight he formerly
monopolized and the famous "two-gun-
man" will find that he has now a battle
on his hands to win back his lost popu-
larity. So far as actual merit and ability
go, however, Hart is the greatest por-
trayor of Western roles the screen has
ever had.
It is well-known truism in the silent
drama that it is not the getting to the top
that is so difficult — it is the staying there.
To the star, director or producer who has
reached a prominent position in the film
industry, there are all kinds of pitfalls
that must be avoided, if he would continue
safely along the road to fame. The big
stars and directors are those who, in ad-
dition to possessing unusual talent, are
also gifted with the ability actually to feel
the public pulse and make their films
accordingly.
To keep a short step ahead of the
public taste is the ideal arrangement for
best results, and will bring even greater
rewards than keeping directly abreast of
the public demands. To step too far ahead
of the public, however, is one of the worst
blunders that can be made and always
brings direful results. It is in some in-
stances worse than falling behind the
times.
To cite three examples : Theda Bara
went into oblivion because she persisted in
playing vampire parts on the screen long
after the public had tired of them. She
fell too far behind the public's taste in
entertainment.
Anent Colleen Moore
Tx "Flaming Youth" Colleen Moore for
the first time portrayed a daring ultra-
modern flapper. Previously, Colleen had
been playing simple and demure roles with
only average success. When "Flaming
Youth" was made, the time was ripe for
flapper roles, the public knew all about
them, but they had never been presented
graphically on the screen. Colleen Moore
and "Flaming Youth" were an immense
success, because the star had only slightly
anticipated the trend of public thought.
Flapper films immediately became the
vogue and Colleen became one of the
leading stars on the screen.
Gloria Swanson, on the other hand, has
now stepped too far ahead of her public.
She is playing too many different types of
parts. Gloria is by all means the greatest
actress that the silent drama has ever had.
With the instincts of a real artist. Gloria
does not wish to confine herself to any
particular type of role. She desires to
attempt something different each time, to
give a new characterization in every pro-
duction. This should be the aim of every
great actor and actress.
To follow this line of action on the
screen, however, is playing with fire. The
film-going public is slow thinking and
once a player has established herself, or
himself, in a certain kind of role to the
satisfaction of the public, the latter pre-
fers the star to remain in that type of
role consistently. Gloria's sudden switches
from emotional drama to fine character
work, and from character work to slap-
stick has been too rapid for theatergoers.
80
Gloria Ahead of Her Public
GLORIA Ml.iN lose .1 lot ot her clil .hi-
mirei i mam. ol w hom ai e wi II l" i
thru her commendable efforts t" break
aw.i\ from fill screen traditions, but in
the long inn she will win admirers t" the
liknt drama who have hitherto looked
with contempt upon <>m fail institution
ami tin- populai players whom the gen
CI,,I publi me to look upon .1,
tcs."
liu von Stroheim and, to some extent,
Ernst Lubitsch, maj also be classed
among those who have suffered more <>r
less tlnu being U'i> fai in advance of the
publi< rhese men have blundered in
thinking that American theatergoers that
is, those who make up the hulk of film
tan. thruout the count r> are really de
is of something line and worthwhile
in tin- u.i\ i't screen entertainment.
Von Stroheim's "Foolish Wives," which
.i great picture in spite of dispai
big remarks to the contrary, failed with
tbt American public simpl) because it
u.iv ahead of its time. Von Stroheim's
"Greed," one of the tiiu-st films of .ill
times, Hivvered simply because it was really
a "bigger and better" picture.
Lubitsch's films are doing well in some
of the big cities, but are ven little ap-
preciated in the small town. It will take
In 1 1' Haute and Kalamazoo about five
to catch up with the superiority of
Lubitsch's direction.
Von Stroheim's "The Merry Widow"
will meet with general success because,
while it is a superbly directed and finely
embroidered affair, it is at bottom an
ordinary, second rate story, filled with
just the kind of hokum that the public
nves.
The He-Vamp Boomerang
I ew Cody was the featured player in a
historical blunder a few years ago.
Lew had been playing "heavy" roles with
marked success and was forging rapidly
to the top. It was in the latter days of
the era when vampires were still in vogue.
Somebody conceived the brilliant idea of
dubbing Cody "The He-vamp." It
sounded like a good publicity idea and
brought the actor much free space in the
papers and magazines.
After a few months the "he-vamp" ap-
pellation began to rebound against Cody.
The male theatergoers refused to patron-
ize his films, and the women, with typical
female psychology, lost interest in an
actor who appeared to be boasting of his
charms. Cody, himself, of course, had
nothing to do with the idea. He felt its
ill effects, however, and for two or three
years was almost taboo on the screen.
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superiority as a lover. The term "perfect
lover" almost ruined O'Brien's brilliant
career. Only by dropping the appellation
altogether and delivering a series of fine
romantic performances has Gene been
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able to overcome it. As in the case of
Cody, O'Brien had nothing to do with the
selection of the slogan.
Norma Talmadge's big blunder has
been in adhering too closely to goody-
goody roles. They have stifled her per-
sonality and killed the fire that formerly
flamed so brightly in her earlier work, at
which time she played all types and roles.
If her portrayal of "Kiki" is well done,
this will revive her old popularity.
The Case of Doug Fairbanks
FViuGLAS Fairbanks was heading him-
self into an ominous blunder a year
or so ago. In his ambition to produce
immense spectacles, such as "Robin Hood"
and "The Thief of Bagdad," Doug was
smothering the magnetic screen person-
ality that had made him the biggest star
of the day. Two more spectacles like the
above mentioned and Doug would have
been looked upon by the public as a pro-
ducer rather than a screen idol. Appar-
ently, the star sensed this, for he is now
returning to his old style of work with
such films as "Don Q" and "The Black
Pirate."
Mary Pickford made the commendable
blunder of trying to give the public some-
thing different. For years many theater-
goers and critics had been accusing Mary
of sameness. They asserted she could
play nothing but kid parts. So Mary
gave the public a few grown-up char-
acters. In spite of the excellence of her
playing, the Pickford admirers immedi-
ately turned thumbs down. Mary is back
at kid parts and will probably stay there.
Pola Negri's blunder was made in com-
ing to the United States. At least, it was
made after she came to the U. S. A. In
her German-made films Pola won a repu-
tation for herself in this country because
of remarkable acting ability. Her work
was so natural and devoid of the usual
posing and reserve which marked our
own screen actresses that Pola quickly had
her American theatergoers in the palm of
her hand. Upon arriving in this country,
Pola underwent a metamorphosis and
instead of continuing to rely upon her
acting ability, which left her few com-
petitors, she decided to take advantage of
American photography and become a
screen beauty. In this branch of the
game Pola could not hope to compete with
more than a score of our own fair
damsels. All of Pola's recent films show
that she is thinking of camera angles in-
stead of working spontaneously.
And Now Cecil De Mille!
|V/Iany are of the opinion that the
greatest blunder in recent years was
Cecil B. De Mille's cutting loose from
Paramount. At the present moment it
appears that this contention is correct and
that "C. B." has made a grave mistake in
taking so much responsibility upon his
own shoulders. It will take a little more
time, however, to decide this definitely.
Blunders will continue in the silent
drama as long as the industry exists.
There is no way of stopping them. As a
rule, there is no way of definitely knowing
a blunder until it has been proved so, and
then it is too late to do anything about
the matter.
At the present moment there are several
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blunders that will vitally affect their
careers. Principal among these are Ronald
Colman, Jack Gilbert, Betty Bronson,
Mary Philbin and Adolphe Menjou.
Stars at the top, or those just arriving
at the top, are the ones who require the
most expert handling. One misstep may
send them toppling down the ladder into
the Down-and-Out Club.
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(Continued on page 84)
82
Men
(< onthtued from page 72)
furniture not quite paid for, the china
mesc, and the baby asleep on the
scape, lite becomes a little dilTcrcnt.
, rathci than lose all hei ideals "i
what tin- future should bring, -In- kocs
back to work to get them. She has talked
al„,ut u to lut young husband ami he
n't seem to cue. \\'h\ should he:
Mo$l all his friends' urns work.
"That is the beginning of the end.
When a woman finds out she doesn'l need
I man, she just doesn't need him I he
youthful glamoui is gone. She has found
what romance is made of.
" \iul yel I believe in man iage. It is
lutel> necessary, oi course. It is the
d's greatest convention. Wr do it
to please oui mothers, our friends, our-
selves, but it seems to me that right now
something is wrong with it.
•■ \ml I believe that the main difficulty
il with the man oi todaj and not the
He is not awake. I Le is not mature
Ami still ni\ advice is. get married, and
it out it" that is what you want. I I
are in love, stay home. Insist upon a
home, take no substitutes, make it your
fortress, and do not seek a career. There
, few talented women who should not
stifled, a few brilliant and lovely
women who are more valuable as them-
selves than as wives. But the average
woman who leaves home for a job in an
office, as a clerk, stenographer, or sales-
woman, is a million times more of a per-
-011 as a wife. Some people can do both
well, but the great majority can not.
Stick to your homes, for the older you
get. the more they will mean to you, and
at fifty, the new dress will seem a very
little thing beside the security of a suc-
cessful marriage."
The Answer Man
(Continued from page 66)
Harold L. U— So you think I am a
pretty big mystery? Yes. they do say
Jewel Carmen will return to the screen
after six years' absence in "The Bat."
Ford Sterling is playing the lead for "The
Show-Off" from the stage-play.
Mary T— Yes, Eugene O'Brien will
play opposite Gloria Swanson in "Fine
Manners." it is reported that Robert
Leonard is to marry Gertrude Olmstead.
Yes. and Louise Glaum, erstwhile vamp,
was married last January to Zachary M.
Harris, a theatrical promoter.
Lili.ie 17. — I should say H. B. Warner
has a full name. It is Henry Byron
Warner. William Boyd and Elinor Fair
were married last winter, and now they're
playing in "The Yolga Boatman" together.
Maybf.lle H. — Listen here, I cant very
well undertake to give you the names and
addresses of some forty players here. It
would take much too much room. Give
somebody else a chance. Dont lay it on
too thick, Maybelle.
Frenchy. — So you think that Alma
Rubens is a Classic beauty. She played
in "The Winding Stair" with Jack Mul-
hall.
Sheba. — Douglas MacLean signed a
contract whereby he will make several
pictures for Famous Players-Lasky.
"Twenty-three and a Half Hours' Leave,"
which is his most outstanding success and
his first important picture, was made under
the Lasky banner.
Hew Much Do
Ar lists Earn?
WOULD you like to earn #100 a week as a commercial artist? If you like
to draw, you should develop your talent, for well-trained artists earn #75,
3100, #150 a week and sometimes even more. Beginners who can do
practical work soon command 350 a week.
The Federal home-study course develops your talent on a sure foundation
by the quickest possible method, and makes the work truly a pleasure. It is the
original, practical course in commercial art, created by men with more than 25
years' experience in the field, and after 12 years of unequalled success today
stands supreme as America's Foremost Course in Commercial Designing. It con-
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sonal criticisms on all lessons, and teaches you the methods that make your draw-
ings worth real money.
FEDERAL STUDENTS MAKE GOOD INCOMES
These are typical letters from many hundreds
in our hies:
Byron C. Robertson, a Federal School grad-
uate, says:
"The reason why I enrolled with the Federal
School was that they had many Students to
point to who had made good. Today I am on
the art staff of one of the largest illustrating
concerns in America, receiving a salary of
S3, 000.00 a year. It was indeed a lucky day
when I enrolled. The lessons by such great
contributors as Coles Phillips. Edwin V. Brewer,
Chas. F. Chambers, and others equally well
known, are an inspiration and a decided help."
D. L. Rogers says:
"I found only one school that had real, sound
backing for all its statements and that was the
Federal School.
"From my experience I am satisfied the Fed-
eral School has the quality of education to offer
that paves the road to success. 1 wish to recom-
mend this course very highly and my advice 10
those who are earnest and 'game' enough to
work for bigger things in the commercial art
field is, 'Take the Federal Course.'"
Florinda E. Kiester writes us:
"Besides the good training I have received
from the course when I took it, you people have
always given me such wonderful help in my
work that I shall be proud to be able to say I
am a graduate of the Federal School."
A letter from Mr. Lloyd Shirley:
"I feel as though my old days of drudgery
were a bad dream. Now [ am earning $3800 a
year and I have just started. This commercial
drawing is work I love to do. If it had not been
for the opportunity of studying art in my spare
time and the kindly interest of the Federal
faculty. I would never have gotten out of the
rut I was in. The practical, thorough, short
1 took with the Federal School made
my success possible."
Send Today for
"YOUR FUTURE"
If you are in earnest about your future, send
6c in stamps today for this book. It is beauti-
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Federal Course, gives you convincing proofs
of its merits and shows work done by Federal
Students. Fill out and mail
the coupon NOW, kindly
stating your age and present
occupation.
Scfiool
rof Commercial Designing
1034 FEDERAL SCHOOLS BLDG.
Minneapolis, Minn.
Please send me "VOIR FUTURE,
which I enclose 6c in stamps.
Present
Age Occupation
(Write your address plainly in the margin)
mmerica's Fbiemost School djT Commercial cjlrt
83
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MO ANA: A Poem of the
Cinema
{Continued from page 37)
have no connection on the surface, but
actually the rage for the Charleston sug-
gests, for one thing, that Americans every-
where realize down in their hearts that
they are savage, just as savage as the
Samoans ; and for another, that making
money and "getting ahead" are not
enough, and that they want to live a
fuller and more beautiful life, in Florida,
for instance, where they can take things
easy, bake in the sunlight, or lap in the
blue Southern water.
"Moana," for people who have been
thinking about these things — nearly all of
us, at some time or other — was a spectacle
of life beautifully lived. When I walk
into a theater to see a film by the clever-
est of our directors, I say to myself, I am
going to look at a play, a wonderful game
that somebody has devised to stimulate or
amuse me, all artfully put together. But
Flaherty, tho he devised a form for his
"Moana" in order to give it unity, tho
he caught an overtone of story or drama,
must have said, "I am going to take them
so close to this thing that they will forget
that they were looking at actors in a film
and think only that they were looking at
life, that they were peering out of some
hiding-place into a world that is just as
natural and strange as the world always
is. . . ."
The Samoans are a handsome race,
brave, high-spirited, instinctively artistic
in their most natural expressions. Art is
not something they go to museums or
concerts for ; it is a feeling for beauty,
as they block out designs on their sparse
clothing, as they adorn themselves with a
flower in the ear, a wreath in the hair ;
as they dance ; as they carve their boats
or their totem-poles.
Epic of Samoan Life
VT/e look at a day in the life of Moana,
his girl, Fa-an-ga-se, and his little
brother, P'ea. The film begins poetically
enough with a shot of the upper branches
of two kava-trees ; weird, feathery, lux-
uriant, they set the mood for the whole
symphony which begins. It is hard to
believe that photography alone can be so
moving that it holds our interest without
the aid of any cheap melodrama — no ship-
wrecked American yacht anywhere on the
horizon. The huge, sinister, tropical
plants and leaves fill the picture, wave in
the warm southern wind. Out of these
moving forms, the Samoan boy emerges,
quite naturally a part of them, like some
animal or bird. We watch Moana and his
companions hunt, fish, play, swim. The
simplest gestures seem very important, and
reasonable. These people are instinctively
graceful and natural as we can never be,
in the movements of their muscles and
limbs, in their expressions to one another.
It is very much as if they were not acting
at all. Flaherty has caught a marvelous
overtone.
"Have you ever noticed," he said, "how
animals and children in the film never
seem to be acting. They just live or
play."
The utterly strange overtone of reality,
which some news reels catch, "Moana" has
to an amazing degree.
But the loveliness of the woods, and of
the sunlit beach, the marvelous feeling of
water, the beauty of Moana swimming in
it, the dignity of his dancing — these are
not enough.
Suddenly, drama: the swift, sure rise
oAsk Them
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245
An Apology^*
Thousands of our regular readers were disappointed
last month when they went to purchase their copy
of Motion Picture Magazine — for the edition quickly
sold out. We apologize to you all. The next print
order will be greatly increased but you had better
order your next issue now — or subscribe. Lots of
fine news coming.
Brewster Publications, Inc.
OPPORTUNITY MARKET
(Continued from page 82)
SHORT STORIES
Stories and Photoplay Ideas Wanted by 48
companies; big pay. Details free to beginners.
Producers' League, 441, St. Louis, Mo.
STAMPING NAMES
Stamp Names On Key Checks. Make $20 per
100. Some make $10 daily. Either sex. Work can
be done at home, spare time. Send 25c for sample
and instructions. M. Keytag Co., Cohoes, N. T.
VAUDEVILLE
GET ON THE STAGE. I tell you how! Per-
sonality, confidence, skill developed. Experience
unnecessary. Send 6c postage for instructive
illustrated Stage Book and particulars. O.
LaDelle, Bex 557, Los Angeles, Cal.
84
, rve shattering climax,
., ivaj thai i al)Mihitcl> unique
in tin- films, and touched uiilj in great
i
All il"> delightful 'business, these
ihal we liavc been watching with
inch tranquil |>le;i>ure, we see now
irations lot the great esent ul
li if, the Mulr.d ol tattooing,
i, to the Samoan is the test oi su
ligious experience, thru
must win to manhood, "the
virilit\ that makes (or the :
. the inti
A Fine Art of Pain
TuiNrt, "the Polynesians havi
,>,l into a fine art of gruelin
rative loveliness." The meai
most astonishing when we realize
with nature so favorable and life so
out there, Moana willingly submits
his ancient tribal rite in order to
rt his manhood. The realism of this
is something unsurpassed in the
■ the movies.
It is the high moment of the film.
u > the ordeal stoical!) •
["hen his features twist involun-
tanl\ ; the tears, the perspiration, start
. ill!
Win does Flaherty try to transmit so
much pain after the light-hearted beauty
the early sequences \\ hj does he
dwell on this so long, so morbidly?
"Because the religious emotion is always
iated in my mind with pain, supreme
ring," he answered to my question.
And now Moana, first thru work and
play, then thru the torture of this— to us.
inhuman and barbarous rite— has won the
pride and strength of manhood, the privi-
g Fa-an-ga-se. The picture
with Moana, well, after weeks of re-
ry, dancing with Fa-an-ga-se, the
strangely sensuous dance of the Siva,
which is the expression of their courtship
and love.
An extraordinary thing about this sim-
ple drama has been the perfectly caught
and perfectly sustained atmosphere; not
igle element that belonged outside of
the conception of life in the South Seas
50 much as peeped in. There is noth-
to jar your sense of good taste, to
waken you from your dream.
Another point that must be made is
that the plan or form of this film, by
which it develops to its climax, is utterly
simple and is woven from the materials
which actually compose life here. You
could never argue with or question the
course of events. It has the inevitable
simplicity of life itself, as Mr. Frederick
James Smith pointed out in a recent issue
of the Classic in connection with such
notable films as "The Last Laugh," "Stella
Dallas," "The Big Parade."
Take "The Covered Wagon" : there is
a hopeless love interest in it that has
nothing to do with the progress of the
pioneers themselves across the prairies,
which forms the real spectacle of the film.
And the villain is only a professional vil-
lain; he is not forced into villainy by
anything in the situation itself. From this
point of view. "Moana" is pure of all the
silly trapping and devices that are sup-
posed to make people palpitate willy-nilly
and its effectiveness despite this gives
much room for thought.
The Art of Life
Di'T Flaherty has done more than to
give us only a beautiful spectacle.
^ ith his broad vision he has suddenly
made us think seriously, in between the
(Continued on page 91)
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Joby from the Tennessee
Hills
{Continued from page 74)
so tired of them. There are other draw-
backs to so much time, too. In ' Girl
Shy,' I had to cry steadily for ten days."
"They always played the same thing for
those scenes," observed Roy. "When we
heard them strike up T Love You Truly,'
we'd say : 'Joby's crying again !' "
"After that, Harold wanted me to look
as if I'd cried myself out and couldn't
weep another tear, but was going on,
broken-hearted. Try and do it — especially
for two weeks !
"But 1 loved the part. I'm not so keen
about this one. I am a painfully good
girl who feeds the poor coffee and
doughnuts and goes about with a sickening
smile."
Odd thing about Jobyna. In the space
of half an hour she can remind you of
Lillian Gish, of Mary Pickford, of Mabel
Normand and of Betty Bronson, and all
the time be her own inimitable self — wist-
ful, merry, tender or sad. They say that
producers have eager eyes on the end of
her contract, not so far away. . . .
"You had four props, hadn't you, Joby?
Let's see — one, two — yes, here they are.
Forward march !"
Old Pictures in New-
Frames
(Continued from page 78)
realize how crude a foreign studio seems
compared to an American one. The lights,
the camera, the antiquated methods, are
amazing. Yet one must realize what a
drawback the war has been to pictures over
there and overlook most of these incon-
veniences.
Film Community Danger
"America might learn something in the
■^ congenial atmosphere of the foreign
studios. It is more like the stage, not so
automatic, a little more personal. And
another thing I firmly believe is, that no
one city should make all the pictures. To
form a community is death. All ideas,
new impulses, die ; everything becomes
stereotyped. It is too bad we cannot have
a studio in every state.
"In spite of this, I like California. New
York is more stimulating, of course, but
California is a very lovely place in which
to work."
And now, leaving Mr. Hayakawa talk-
ing like a realtor, I will brush up a little
bit on his past history in case you have
forgotten.
He was born in Japan, and as soon as he
grew old enough to think at all, he de-
cided that the thing he wanted to do most
was to come to America, and study for
the stage in order to bring Shakespeare to
Japan. He went to the University of Chi-
cago, and won his letters playing quarter-
back on the football team. I also believe
that he is a wonderful swimmer. For a
while he played on the legitimate stage,
and eventually drifted into pictures. He
made an instantaneous success and was
more often than not a perfectly villainous
villain.
Mr. Hayakawa would like very much to
go back to pictures. I personally think
he is a fine actor, but I think he would
be an even finer director, even if he has
nothing better to piece together than a
half dozen old match boxes.
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THE NATURAL METHOD BUREAU, ATLANTIC CITY, N.J.
How Fairbanks Took the
Color Out of Color
\linued from page
work "tit a definite color icheme (green
and brown) and abide bj it rigidlj <\
cludiri note thai might distract a1
tent ion from the whole. Rembrandt might
put .1 bright color in shadow, for then it
is toned down; we might do much the same
in the background but we must be foi
uard that it did not come
bo neai i[ distract youi
from the whole. For instance, we always
had painters ready, so thai ii a light-
costumed man was forced by the necessi
ties "i the action to come closer to the
camera, he could immediateh be dusted
down with powder oi a darker shai
costume, and all.
"In other words: we had to compose
in color as well as form."
And t<> this interesting theory
strictly adhered thruout every scene. Ii
in the hurrj of outfitting a mob of extras,
a scarlet bandanna was allowed to reach
the set, it was immediately returned and
locked up in a closet, never to see the light
v again ! In fact, only one spot of
brilliant color was allowed to enter the
whole picture — a green parrot. And this
only because it was absolutely necessary.
For a pirate picture without a parrot would
hanll\ do right I \ our historic d triditi ins
— or pass the censorship of Robert Louis
Stevenson.
And again, perhaps, there is the red flash
when the powder-magazine explodes; but
this is so short — it only runs about eighteen
inches— that the effect is sure to be mental
rather than visual.
Purple and Blue Impossible
'\Y7i-. found it impossible to do anything
at all with purple, and that blue can-
nol be satisfactorily handled, as it takes a
greenish tinge. This latter presented quite
a difficulty — for, as perhaps you know,
skies are blue. But," here Mr. Parker
pointed to an etching of a New York
street, "that is not a New York street as
you and I see it — it is a street idealized
thru the personality of an artist. We found
this true of all art, that it idealizes nature.
So we did the same — our skies are almost
white, with just the slightest suggestion of
a warm tinge of brown.
"Toward the end there is a scene where
it was necessary that the sky be blue —
when you see it, I think you will agree
with me that it is far less pleasing than
the others."
Perhaps the ultimate in this "idealiza-
tion" is the oiling of the bodies of all
concerned so as to give their skin the soft
and velvet sheen of the ideal "skin you
li \e to touch" — hut never find.
The sparkle in his eyes grew gayer as
he continued to tell about their findings.
"Green and brown is our scheme thru-
out: greens of all the softer shades, and
brown running the whole gamut from the
lightest tint of old ivory to the deepest
tone of mahogany. Other combinations
are, of course, possible, but we found this
the one best suited to our needs."
Color as a Background
""The reason for the seemingly unneces-
sary attention given to even the most
trivial of details is quite peculiar — it was
so you would get a picture in which color
is not the dominating interest! They
fought color so as to get a picture of a
pirate story — with color as a background.
The attempt aimed at — and everyone who
has seen the picture swears it has been
achieved — is to make you forget entirely
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that the picture is in color ! In other
words : they have tackled color from an
angle directly opposite to that of all who
went before them. Drama, not color, is the
important thing !
To find if they had succeeded in their
aim, Mr. Parker not only asked for criti-
cism from those who saw it — he even
eavesdropped while they were seeing the
picture, so as to get their comments
amongst themselves !
"At first, I would hear comments of
'Beautiful !' and 'Ah !' — but from the middle
of the first reel on there would be silence.
"When, after they had seen it, I asked
them how they liked the color, they would
say: 'Color? Oh, yes, it was in color,
wasn't it?'"
To gain this end, it had been necessary
that there should not be a single detail that
went wrong — no spot where you could have
the slightest feeling that color had fallen
down.
For this, it was imperative that the story
be of the utmost simplicity, and of a sus-
tained interest, with not one lull from the
beginning to the end. Because of this,
Mr. Fairbanks wrote every scene with color
in mind — not to make the most of color,
but to work story and color together in
such a manner that each would make the
utmost of the other.
"And, because of this, we received the
greatest of all possible compliments — com-
plaint that the picture was too short ! As
a matter of fact, it runs to 8,500 feet."
Long Color Tests
""Then it was necessary that the sets,
make-up, and costumes be tested for this
new medium. This work occupied every
spare moment of Mr. Fairbanks and Mr.
Parker — as well as the artists they had
called in for consultation, Dwight Frank-
lin and Oscar Borg — for the full prepara-
tory period of six months. They would
evolve a costume that would seem mar-
velous in the studio — only to find that on
exteriors it would not go at all !
And with make-up it was, if possible,
even more difficult. Doug has a very heavy
beard, and, try as they would, they could
not overcome its tendency to go green when
flashed upon the screen in color. It took
them a whole month before they hit upon
a way to conquer this single detail — the
application of a more reddish powder to
that part of his face than elsewhere. Nor
could Billie Dove use the usual "peaches
and cream" of the leading lady ; again
Rembrandt was called in, and her skin
was toned a mellow ivory. It was found
that Sam de Grasse had no need of any
make-up whatever — tho in black and white
he has !
And, while we are on this subject of
faces, there is another interesting detail to
be mentioned. I am sure it has struck the
attention of everyone who has ever seen a
colored picture that every once in a while
the faces take on a greenish tinge — as when
a crap-shooting office force first sees the
entrance of the boss. This was found to
happen whenever a carbon in the lights
went blue. The cause being found, the
remedy was simple — watchfulness.
Twice as Much Light Needed
In lighting, it was found that color re-
quires just twice as much light as black
and white. This meant that lights had to
be used even in the shooting of exteriors.
But, when someone suggested that they use
colored lights to help in heightening the
effects, this was vetoed, for, tho sets and
skies could be idealized, no artificiality of
color was allowed. The only thing that
might be called a departure from this rule,
the mahogany, rather than red, spurt of
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88
in the powder trains, is u-.ilh not,
. was obtained thru tin- actual mix
turc "i the powder, and not \<\ anj trick
: filters .mil colored gelatine
densit) oi the coloi in .nn given
could he varied within unite a larg«
in l>> the film on which thej chose
int it depending on wliethei the)
,11, red. or neutral eintiUion.
In the handling oi the crowds, mart)
Dtcre.stiuR elements were encoun
.i scene in the earl\ part oi
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. was called lot I >ne hundred
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was flashed upon thi It
,,| ,i mess! the periect summing up
comment h> Joe Schenck :
iks like an Italian wedding."
5 was true, a hundred and fifty
men in color produce an effect equal to
five hundred in hl.uk and white.
The scene was retaken, and lift) nun
rd ample. Tins is possihl) because
reater stcreoptic values possessed
than l>\ black and white.
Color as Emphasis
AM.riiKK item was the great emphasiz-
ing value to which culm- can be put.
In compositions where one man should
: out trom all the others, the old mas-
put him in light and the others in
so that the lighter tones would
out against the darker. In a picture
where movement has to be considered, this
handling of high light and shade cannot be
followed ; but a similar effect was gained
rn the dyeing of the shirts: light for the
important characters, and darker for those
who were to constitute the background,
r the same reason, it was found nec-
. to dull the sun aces of the silver
and brass mountings of the pistols and can-
non, and all the ironwork upon the ship,
that they would not distract the eye,
nor even be noticed, until brought into
Even the gold and jewels of the
looted ships could not make these firm
- lose their heads !
Another most interesting item of this
work is an experiment the results of
which should be of benefit to the picture
industry as a whole. Under supervision of
professors of the University of Southern
California, a test of the comparative eye-
strain of standard print, black-and-white
film, and colored film was made. For this
subjects of various ages and occupa-
tions were carefully selected: professors,
students, and stenographers, carpenters,
cooks, and gentlemen of leisure — people
from almost every conceivable walk of life.
On one night a few reels of colored film
were run before them — tests were made,
and then they were freed for three or four
days. At the end of this time, a similar
length of black-and-white film was shown
them: tests were made, and they were freed
again. And then they were made to read
from books of standard type for the same
period of time the films had been run be-
fore them: again test> were made — and
then the three sets were brought together
for comparison. The results were these:
the strain was the most severe from read-
ing: next from films of black and white,
and least of all from films in natural color!
The goal aimed at in this production is
to project an adventure story of the buc-
caneers against a background like an old
painting brought from the cellar of some
ancient castle and then revarnished. Tho
they have taken every bit of praise with
the largest mine of salt procurable. Mr.
Parker feels that this has been accom-
plished. But ultimate judgment has not
yet been passed — your verdict as a mem-
ber of the final jury is awaited with almost
"bated breath."
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Youth! Youth! Youth!
That's the cry of 1 926. And .
no other motion picture maga-
zine catches the spirit of today
as does THE CLASSIC. It is
smart, intelligent and sophis-
ticated. It prints no blurbs,
it publishes no press agent
bunk. There are six distinct
reasons for buying THE
CLASSIC:
1 . It is fearless and honest.
2. It tells the news first.
3. It is authoritative.
4. It is the film magazine de
luxe.
5. It is brilliantly edited.
6. It has the greatest screen
writers.
The
June CLASSIC!
Another lively, sparkling issue, beautifully illus-
trated.
Remember the remarkable article published last
year by THE CLASSIC, revealing the real salaries
of all the stars and players for the first time. It was
the sensation of the motion picture world. Frederick
James Smith and Tamar Lane are combining forces
on another article, presenting all the salaries as they
are today. Some startling changes have taken place.
You cant afford to miss this article.
Agnes Smith has contributed a humorous article on "If They
Conducted Other Businesses Like Motion Pictures." You will
find a lot of real laughs in this amusing contribution.
The second of Henry Albert Phillips* remarkable series of
interviews with the leading British and Continental authors on
the subject of motion pictures. In the June CLASSIC you will
find striking comments by E. Phillips Oppenheim, Frank
Swinnerton, A. A. Milne and E. Temple Thurston.
And a dozen other features you will find all your friends
talking about!
New Styles in Screen
Girls
(Continued from page 41)
babies were left under the bushes in the
garden by the dear little rabbits; and the\
believed in Santa Claus ; and they believer
that girls should never be kissed until th(
minister said the last word.
And they got darn tiresome — if anybody
should ask you.
These haughty young ladies were even a
relief from the girls who tried to do what
Lillian Gish did — even tho they didn't.
These young ladies lived, apparently, to
be chased by villains. They were at their
very best when a Walter Long sort of per-
son was chasing them round, upsetting the
tables, chairs and other parlor appurte-
nances. Personally, I never could get up
much sympathy for the fugitive young
lady; but my heart bled for the villain. It
must be a great nuisance to spend your life
galloping around the tipped-over furniture
in pursuit of young ladies whom you never
catch.
And so the Norma Shearers and the
Corinne Griffiths were a great relief. Xo
villain ever chased them around the parlor
furniture : well, hardly ever. They would
just have annihilated a villain with a look.
They were always somewhat distant and
looked like thorobreds. They came to the
"love clinch" at the end with an air of
condescension.
You knew when they were married what
kind of wives they were going to be. They
were going to be the kind that interrupted
hubby's best story with the crushing re-
mark : "No, my dear, you have it all
wrong. It was Wednesday, not Thursday."
Of course, I refer to the screen version
of these two young ladies. Off the screen
they are quite different. Witty, pally,
friendly girls — both of them. With gay
hearts and sound, level heads.
Then — Renee Adoree
The new girls came in with Renee
Adoree in "The Big Parade."
In my opinion, it was the love story that
made it one of the great pictures of all
time. It wasn't the war stuff. It was one
of the few great love stories of motion
picture history. Mostly, it was Renee
Adoree.
She brought something new and vital
and real to the business of screen love-
making. Something warm and vibrant.
You knew that the chap who married her
would have a lot of quarrels over the
family gas bills. But a lot of sympathy,
too.
Dolores Costello has the same impulsive,
tender qualities in a somewhat more deli-
cate mold.
I think these two girls are the best bets
that have come to the screen for many
years. Two others — Betty Bronson and
Yilma Banky — give promise; but in a dif-
ferent way.
But they are warm and human, too.
Still, I doubt if the lovely Vilma will
ever seem quite our own. Betty Bronson
will always appeal to the head more than
the heart. She is likely to make herself a
great actress, however.
I go back to Renee, however. A physi-
ognomist— a student of telling character
from faces — told me once that she had
the actress face — more than any other girl
in Hollywood — sympathy, impulse — the abil-
ity to "let herself go" ; almost no inhibi-
tions ; great intuition. She doesn't have
to think what to do. She just does it as
naturally as a cat strikes at a ball of yarn.
There is every probability that Renee
90
\, i. ,[,•«• will be the forerunner of still an
.tlin •
■n'll see that older
and more mature women will become popu
een. Lillian Ciish at i
11 -, hence I will be more pupulai
ilun I
The Day of the Real Actress
Ilher words, the day ol the real ac-
., is coming in I he \ ision ol youth
and beaut) is slipping out.
There are two 01 three reasons for this.
all, no real stoi > is possible to a
youiiK girl especially the little ice
maidens we have adored in the past Vou
- that they have had no experiences
■ad 'bit they have lived thru no stories.
\ll that has ever happened to them was
when a dentist pulled one of their wisdom
teeth. Their idea ol heavy tragedy is to
et to give some one a ( hristmas pies
■ to get a inn in a silk stocking at a
If you will look over the hits of the year
• m "The l'ng Parade" you will
that most of them have been made by
women no longer in the flapper class.
Irene Rich in "Lady Windermere's Fan,"
Louise 1'resser in "The Goose Woman/'
Pauline Frederick in "Smouldering Fires."
\s screen lighting continues to improve,
round, youthful faces will no longer
be in demand. In fact, they will be rather
sniffed at.
The day of the great actress— the
trained expert— with natural emotion and
tenderness and the skill to show it to the
folks.
The slim white lilies will give way to
the full-blown rose.
MO ANA: A Poem of the
Cinema
(Continued from page 85)
Florida boom and our hunting for bread
and butter in Wall Street, about the art
of life. Here, he says to us. are people
who are successful in the art of life. Are
we that, with our motor-cars, factories,
sky scrapers, radio-receivers?
He has been an artist who interprets
life. He says :
"I wanted to get closer to the things
that mean so much in our lives, the sea,
the forest, an uplifted arm, the texture of
a face. ... I wish we could experiment
more with this wonderful instrument that
we have in the cinema." And leaning for-
ward to peer down from the high perch
in the Babylonian tower of mid-Manhat-
tan, where we sat talking, he exclaimed
with a sudden intensity, "it I could only-
give the actual life of that policeman
down there, in the maze of traffic, as it is,
with all its fantastic overtones, just as
barbarous as the life of Moana or
Nanook!"
Be Sure to Read
the Sensational Facts
About What the Stars
Really Earn
in the JUNE
CLASSIC
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rert fiouge
The May
Movie Monthly
Movie Monthly is setting a Rapid Pace.
It sings the sung of Youth — the song of
Romance and Adventure — tlic song of Life
along the Open Road, under the Open Sky.
Its pages arc saturated with Spirit and
Sparkle.
The May issue of Movie Monthly fea-
tures the brand-new series, Bandits of the
Border. As you were interested in Heroes
of the Border, so now you will become in
tercsted in the equally famous Bandits,
those law-breakers who brought so much
drama into the West.
The May number will offer an article on
the Annals of the Suicide Club — composed
as it is of those fearless performers in the
serials who risk life and limb to entertain
you with thrills.
Movie Monthly, indeed, sends out its
message of Youth. It glorifies Romance
and Adventure. It is dec] dis-
covering the Young Stars and helping to
find them their place in the Sun.
m£w Movie Monthly n™
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POSTPAID
SAVE YOUR SILK HOSE
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find The Twins
IJERE are 6 pictures of Charlie Chaplin. TWO
1A and two only arealike in every way. ToSolve
this Puzzle, find the 2 pictures that are alike. It is
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Notice his Hat, his Shirt, his Necktie.
Send No Money
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Send us your answer as soon as possible. First prize S1.000 — 100 prizes in all. and in addition. Valuable
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Ties. In awarding Prizes, the Judges will take into consideration neatness, style and hand writing.
LA FRANCE CO., 609-e.ll Federal Street, Dept. 129, CHICAGO, ILL.
91
92
Watch for the Picture of
Ramon Novarro
On the June issue of MOTION PICTURE MAGAZINE. It is one
of the most striking covers we ever have had. Harry Carr — one of
your favorite writers — has written a story about Novarro. It's a
criticism — and an appreciation. And it's a feature that you will
not want to miss.
Four Years in Small Parts
Perhaps you didn't know that Norma
Shearer waited four years before she
received any sort of chance in the
movies. Miss Shearer worked as an
extra girl in "Way Down East." She
was an extra in pictures starring
Corinne Griffith, Alice Joyce,
Marion Davies and Lillian Gish.
And yet Miss Shearer has been called
a "sudden success!" In the June issue
of MOTION PICTURE MAGA-
ZINE, Dunham Thorp tells you
Norma Shearer's own story of her
early struggles.
Who Were the Real Pioneers?
Who were the men and women that
made film history? Who were the
stars and directors to raise the screen
above the level of nickelodeon enter-
tainment? Frederick James Smith
tells you about the pace-makers of the
movies in an entertaining article for
the June issue.
Send in Your Horoscope
To Marion Meyer Drew and find
out if the stars predict for you a
career in the movies. This new de-
partment, which began in the May
issue of MOTION PICTURE
MAGAZINE, promises to be one of
the most popular features we ever
have run.
Some Like Diamonds
And others prefer pearls. The stars
choose their jewels to fit their person-
alities. Some of the stars own large
collections of expensive ornaments.
Others have a few cherished lucky
pieces. There's a story about the stars
and their sparklers in the June
issue of MOTION PICTURE
MAGAZINE.
We also Have —
A charming interview with Marion
Davies, written by Alice Tildesley.
And some more Impressions of
Hollywood, by Eugene V. Brewster,
that will interest you. And, of course,
the regular features that all go to
make MOTION PICTURE MAG-
AZINE the most fascinating film
magazine of them all.
So Watch for the Novarro Cover on the News-stands
Or Better Still, Order Your Copy of
Motion Picture Magazine
TODAY
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The Truth
About the
Stars'
Salaries
EPhillipsOppenheim
Frank Swinnerton
AAMilne
ETempleThurston
Discuss the Movies
V
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These Laughmakers say "See Langdon!"
Four famous laughmakers — .Creators
of America's favorite comic strips —
Do they know real comedy when they
see it? You just know they do! —
And here they are, leading the cheers
for
, HARRY
Langdon
TrampTrtmp]r9in0
'Produced by
HARRY LANGDON CORP.
It's Harry's first 7-reel
picture, presented by
First National to a
grateful, gleeful public
who have had just a hint
of his amusement abil-
ity in 2-reel comedies.
A lirat national
Picture
'A KING CAN HAVE NO MORE
//
<!A(<2 more? %
A comfortable seat in one of the better
theatres, a Paramount Picture — and
your "palace for a night" puts many
a King's palace on a back street! And
you can have such an evening as often
as you like — as often as there's a Para-
mount Picture to see.
Harold Lloyd
in
"For Heaven's Sake**
Directed by Sam Taylor. The prize sur-
prise package of the season, laughter,
laughter all the way! Produced by the
Harold Lloyd Corporation and released
by Paramount.
A Victor Fleming
Production
"The Blind Qoddess"
With Jack Holt, Ernest Torrence, Esther
Ralston, Louise Dresser. From the story
by Arthur Train.
A Clarence Badger
Production
"The Rainmaker'*
With Ernest Torrence, William Collier,
Jr., and Georgia Hale. From the story
"Heavenbent" by Gerald Beaumont.
Screen play by Hope Loring and Louis D.
Lighton.
monarch in all history ever saw the
he could have half as much as you.
Before you go the name "Paramount"
is absolute assurance of an evening
well spent, a good time, " the best show
in town." Then you are sure of an
evening when "a King can have no
more." Such pictures as these suggest
the quality of all Paramount Pictures.
•
W. C. Fields in
"It's the Old Army
Game" -ifi
An Edward Sutherland Production. Mean-
ing "Never give a sucker an even break."
From J. P. McEvoy's "The Comic Sup-
plement." Adapted by Luther Reed.
Pola Negri
in
'The Crown of Lies'*
A Dimitri Buchowetzki Production. From
the story by Ernest Vajda. Screen play by
Hope Loring and Louis D. Lighton.
Zane Grey's
"Desert Qold'* ^
A George B. Seitz Production. With Neil
Hamilton, Shirley Mason, William Powell
and Robert Frazer.
Produced by FAMOUS PLAYERS -LAS KY CORP., Adolph Zufcor. Pres- New York. City
IF JT'S A PARAMOUNT PICTURE, IT'S THE BEST SHOW IN TOWN
COMPLETE RESULTS AND AWARDS IN YOUR OPINION CONTEST IN THE JULY CLAS
.MOTION <1>ICTU<RE
tL^!
nc
Vol. XXIII
JUNE, 1926
No. 4
Don Ryan IK
Alma Whittai et 20
Morel.,, ,nt II. ,11 22
Everett Shinn 23
Notable Features in This Issue:
niK TRUTH ABOUT FILM SALARIES l-K-tlrmk Jamea Smith and Tamai Lane ir>
icti about i
TENTS IN CANAAN
t to the ornate 1I..1U\\ • bj k R. Chamberlain
"OLD IRONSIDES" SAILS THE S'iVEN SEAS
How a bi ecial !• being built about the old fri latitutlon"
REVIEWING PICTURES ON BROADWAY
Tlir interrsi hk experii critic
BETWEEN SCENES
Tin- in ii by the famous at i
FOUR FAMOUS WRITERS CONDEMN THE FILMS Henry Albert Phillip* 24
\ Milne, Frank Swinnerton and E, Phillips i Ippenheim
MORE IMPRESSIONS OF HOLLYWOOD Eugene V. Brewster 38
Hie editor-in-chiel tells his further experiences in the capital oi nlmdom
The Classic Gallery ~ — ~ 11 15
■ !ht Ralston, Swi Chaplin, Louise Brooks, John Barrymore and Marii Prevost
Filming "Beau Geste" Alice L. Tildesley 26
How they are making tin- best seller Into ■ film in the Vmerican desert
Gilda Gray (Portrait) 27
Things That Will Never Happen K. R Chamberlain 28
Only five miracles can bring these things about
Her Royal Highness Alice L. Tildesley 30
Corinne Griffith is the regal lad] ol Hollywood
They Told Buster to Stick to It Harry Brand 32
Even as .i child, Keaton attracted wide attention
Greta Nissen (Portrait) 33
How the Keystone Kops Happened Berr Ennis 34
How chance brought about the famous comedy policemen — Drawing by Kliz
She Wants to Succeed Alice L. Tildesley 36
i Clara Bow, the girl of our cover
Cella Lloyd Solves the Problem of Pa John Held, Jr. 40
Tin- further adventures of Mr. Held's bathing-girl heroine
Another Bathing Girl Makes Good 42
Vera Reynolds is doing nicely in the drama
Starring Lady Luck Norma Johnstone 43
Dame Fortune has been first aid to Jane Winton
Charlie's Find 49
Something about the piquant Merna Kennedy, his new leading woman
Masters of the Motion Picture Matthew Josephson 52
;ical discussion of the screen's advance
The Sheik Returns 54
Tin- firsi studies of Rudolph Valentino in his new picture
The Off-Stage Laugh Glenn Chaffin 55
Tlie p.iri played by Mrs, Raymond Hatton In her husband's stu
All's Fair in Love Mary B. Chapman 56
How Elinor Fair met and married Bill Hind
The CLASSIC'S Famous Departments
Flash Backs F. J. S. 44
Are you reading tins much-talked-about department in its enlarged form?
Our Own News Camera 46
The Incidents of the film world told in pictures
The Celluloid Critic Frederick James Smith 50
The new screen plays in review
Letters to King Dodo Don Ryan and Frederick James Smith 58
An amusing series of letters upon the gossip of celluloidia
The Answer Man 64
Cover Portrait of Clara Bow by Don Reed
FREDERICK JAMES SMITH, Editor and Managing Editor
Alice L. Tildesley, Western Editorial Representative Colin Cruikshank, Art Director
Classic comes out on the 12th of every month, Motion Picti're Magazine the 1st, Movie MONTHLY the 15th
$3.50 per year, in advance, including postage, in the United States. Cuba, Mexico and Philippine Islands. In Canada $3.00; Foreign
Countries $3.50 per year. Single copies 25 cents postage prepaid. United States Government stamps accepted. Subscribers must notify us at
any change in address, giving both old and new address.
Published Monthly by Brewster Publications, Inc., at 18410 Jamaica Ave., Jamaica. N. Y.
Entered at the Post Office at Jamaica, N. Y.. as second-class matter, under the act of March 3rd. IS 79. Printed in U. S. A.
Eugene V. Brewster, President and Editor-in-Chief ; Duncan A. Dobie, Jr., Vice-President and Business Manager;
L. G. Conlon, Treasurer; E. M. Heinemann, Secretary.
EXECUTIVE and EDITORIAL OFFICES. 175 DITFIELD ST.. BROOKLYN, N. Y.
Hollywood Office. 60M Selmj A\enue. Phone Gladstone 3564
Copyright, 1926. by Brewster Publications, Inc., in the United States and Great Britain.
Classics Late News Page
CECIL DE MILLE selects "The Deluge" as his
next big superspecial. The selection was
made as the result of a contest conducted
by Mr. De Mille, the first award for the idea
going to Catherine Comstock, 1625 East Street,
Long Beach, California. Mr. De Mille hopes to
duplicate the success of "The Ten Command-
ments" in this new production, which will have
a lengthy prolog showing what the director's
press-agent describes as "the mightiest cataclysm
in all the world's known history."
Richard Dix breaks his hand in a prize-fight
scene of "Take a Chance," directed by Gregory
La Cava. Production held up for a week.
Famous Players-Lasky announce seventy-five
productions for release between August 1, 1926,
and July 31 , 1927. The greatest of these appears
to be "Old Ironsides." The proclamation offi-
cially' promotes Florence Vidor and Esther
Ralston to stardom.
Gregory La Cava signed under two-year con-
tract by Famous Players-Lasky.
Universal announces "Love Me and the World
Is Mine" to be directed by E. A. Dupont, former
Ufa director. This is based upon a novel, "The
Affairs of Hannerl." Mary Philbin and Norman
Kerry will have the leading roles.
Lillian Gish will do "Annie Laurie" next, with
John Robertson directing. Miss Gish is also con-
sidering a story of early California in the old
Spanish days.
Gene Tunney, contender for the heavyweight
pugilistic championship, has been won over to
the films. Pathe has signed Tunney for the lead-
ing role in a serial film going into immediate
production.
William Fox signs Belle Bennett to play the
leading role in his
production of
David Belasco's
"The Lily." Victor
Schertzinger will
direct.
Famous Players-
Lasky buys Anita
Loos' amusing
novelette, "Gen-
tlemen Prefer
Blondes." This has
just passed its hun-
dred thousand in
book form.
Cliv e Brook
playing opposite
Florence Vidor in
her first Para-
mount starring ve-
hicle, written by
Ernest Vajda.
"Kiki" breaks
house record at
Capitol Theater in
New York, playing
to $74,241 in one
week.
Edmund Lowe
selected for role of
Sergeant Quirt in
Full Results of
YOUR OPINION CONTEST
will be announced in THE MOTION PICTURE
CLASSIC for July. This announcement will in-
clude a complete list of the winners, 105 in number,
receiving prizes ranging in size up to a thousand
dollars.
Of absorbing interest to motion picture fans
will be the result of the popularity contest con-
ducted in conjunction with YOUR OPINION
CONTEST. You will want to know what actresses
received the highest vote, what actors led in the
voting and what motion picture plays were deemed
the most popular in the contest.
Watch for the complete announcement
in the July CLASSIC!
William Fox production of "What Price Glory."
Victor McLaglen is Captain Flagg and Dolores
Del Rio is Charmaine. J. Farrel MacDonald will
play a comedy company cook.
Svend Gade and Universal sever relations.
Gade is to direct Corinne Griffith in her next
picture. Miss Griffith's future plans still indefi-
nite. First National wants to re-sign her at a
big advance and a number of other companies,
including United Artists, are after her.
Jack Hoxie's contract with Universal expired
on March 20. Hoxie's future plans unknown.
House Peters being considered for lead in "The
Trail of '98," Metro-Goldwyn's big special to be
made by Clarence Brown.
Lewis Stone and Anna Q. Nilsson playing leads
in June Mathis' new picture, "Sinners in Para-
dise," based upon Clarence Buddington Kelland's
"Nazareth." Charles Murray also in cast.
Metro-Goldwyn buys New York stage success,
"Twelve Miles Out," for $40,000. This is a
thriller of bootlegging and hyjackers.
Cecil De Mille to do an all-negro feature, sug-
gested perhaps by the success of David Belasco's
stage hit, "Lulu Belle."
Dimitri Buchowetski to direct Emil Jannings'
first American picture, "The Thief of Dreams,"
based upon Richard Connell's "A Friend of Na-
poleon." Jannings scheduled to arrive in Sep-
tember.
Ben Lyon to be featured in Robert Kane's
production of "The Great Deception." Aileen
Pringle also featured.
Mary Alden playing Mrs. Wiggs in Metro-
Goldwyn's "Lovey Mary." Bessie Love has title
role.
Helen Ferguson signed to play lead in Uni-
versal serial, "The
Fire Fighter." Jack
Dougherty has
leading male role.
Reported that
Norma Talmadge
plans to do "Cam-
ille" with Sidney
Franklin directing.
"Camille" was
done some years
ago by Nazimova.
Harry Pollard
recovering from
critical illness in
New York. Taken
sick while filming
version of "Uncle
Tom's Cabin."
John Barrymore
shelves plans to do
Sabatini's "The
Tavern Knight"
and substitutes
"Manon Lescaut."
Dolores Costello
will have the lead.
Buster Keaton
doing Civil War
comedy, "The Gen-
eral."
"Quess who it's froml"
"It's a letter from the Answer Man. I've read his answers in Motion
Picture Magazine for years. He is so witty — and knows everything and
everybody in pictures. I write to him often -and always receive a wonderful
letter from him." Thousands of people know this dear old fellow and his
department is one of the finest in any magazine.
For over fifteen years Motion Picture Magazine, the pioneer and the oldest
magazine of its kind, has fearlessly, accurately and authoritatively presented
the news of the great motion picture industry to the millions. Under the
experienced and able leadership of Eugene V. Brewster, its Editor-in'
Chief, it has become a powerful influence for all that is good and progressive
on the screen. The editorial staff are the leaders in their profession.
A clean, wholesome magazine for the entire family
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Brewster Publications, Inc.
175 Duffield Street,
Brooklyn, N. Y.
Gentlemen:
Please enter my subscription to Motion- Picture Maoahni for the next twelve issues. I enclose $2.50
(Canada, 53.00; Foreign. 53.50).
Name.
Street.
City.
Begin with issue.
State.
THEY SAY
Editor, Classic :
I was very much interested in the article
in your March Motion Picture Classic
entitled, "What Counts at the Box-Office?"
Several stars were mentioned in the article
and several "box-office puzzles.'* It may
be of interest to you to hear from an out-
sider and from a moving-picture theater-
goer, who has no particular favorite among
the stars of featured players, why I think-
that certain of the men who are mentioned
as "box-office puzzles" always draw large
receipts from the public.
When the average person goes to the
movies he likes to see life depicted in a
natural human existence. The trouble with
a good many of the stars is that they overdo
the special part they are trying to depict
and thus make the world and the story so
idealistic that it is not real. Some of us
theatergoers wonder why outside of their
good looks or beauty some ever rise to
the heights of stardom. Douglas Fairbanks
is, of course, a great exception and, of course,
there are others. Rudolph Valentino is sup-
posed to be a perfect lover. He probably
would be in the Elysian Fields, where we all
hope to go some day, but in this every-day
world how many men are there who go to
the extremes that Valentino does in making
love? Consequently he, to me, is not
natural. Even the Frenchman, who is the
dernier cri in the art of love-making,
does it with greater finesse and at the
same time with a finer sense of feeling
than our perfect lover. I believe the reason
for Gloria Swanson's popularity is that,
like Fairbanks, she takes the part as the
world sees it and not sometimes as she
would like to do it herself.
And now we come to the Box-Office
Puzzles. The writer of the article speaks
of Thomas Meighan and wonders at his
popularity. In the first place, he is a red-
blooded man. Every woman and every
man admires that type. In the second place,
his plays are true to life and they dont
overestimate the joys or sorrows of every-
day existence. People can see themselves
thru his acting. When he fights, he fights
like a man and when he makes love he
can be at the same time tender and strong.
Those two things, strength and gentleness
combined, are the two most human and
therefore most popular characteristics found
in a person. Consequently, I be-
lieve that is the reason of Thomas
Meighan's popularity in gate re-
ceipts.
The same thing is true of
Milton Sills. While in some ways
he is a little colder than Thomas
Meighan, he puts across to the
public the idea of a red-blooded
fighting man and also that of a
wonderful lover, but not wishy-
washy, as is sometimes the case
with Valentino and the old favor-
ite, Eugene O'Brien.
There is one other who is not
mentioned in this article and I
have no idea whether he ranks
among stars or not. That one is
Bert Lytell. To me these three
men, above most of the others I
can think of, can give the public
what they want. They are all
strong masculine types that both
men and women like, and at the
same time are able to show in their pic-
tures the gentleness and kindness which
will always be a strong drawing card with
women.
Therefore I cannot see why any of these
three should be a puzzle to the box-office.
Very truly yours,
Mary Smith.
Box 515,
Carmel, California.
Editor, Classic :
The article in "Flashbacks," by F. J. S.,
in the February number of your magazine
on "The Menace of the Super-screen The-
ater," gives me the opportunity I .have
wanted for months, to voice my ideas and
opinions on the subject.
It is with increasing dismay that I have
watched the growth of vaudeville and
variety show houses, and the corresponding
decline of the houses devoted to motion
pictures only.
As an ardent, intelligent and more or
less elderly "fan" who believes in the
motion picture and in its far-reaching and
artistic possibilities, I am convinced that
a continued policy which includes any other
form of entertainment on same bill, is not
conducive to the well-being, or indeed, to
the life itself of the moving picture.
In a recent issue of The Boston Herald
I read that "Peter Pan" and "A Kiss for
Cinderella" have been adjudged not a "suc-
cess." These pictures are only two of
many others which have been placed in
the same category, and which are, in them-
selves, perfect, as artistic achievements,
giving joy and inspiration to the intelligent
beholder as incomparable triumphs of artis-
tic and lyric beauty.
Can it be that we must draw the con-
clusion that such pictures are unappre-
ciated and not wanted by the majority?
To illustrate why, in my opinion, we
cannot continue to have the "bigger" and
"better" movies while present conditions
prevail, or even have any assurances that
the industry can continue to exist, I will
give the following statistics as to standing
of Boston theaters.
There are three theaters only which give
first-run shows and that are, so-called, all-
movie houses. All three give the same
pictures weekly — usually — but not the same
THE MOTION PICTURE CLASSIC is
going to devote a page each month to the
best letters from its readers.
Fifteen dollars will be paid each month
for the best letter, ten dollars for the second
and five dollars for the third. If two or
more letters are found of equal merit, the
full prize will go to each writer.
Letters must be constructive and inter-
esting. They must deal with pictures or
screen personalities. And — please note —
they should be typewritten.
bill entirely, one of the three being a
de luxe Paramount house, giving more or
less variety, usually music, the two others
being under same management and giving
only pictures.
Besides these houses there are four which
give all-movies, not first-run shows. And,
at least nine vaudeville houses showing only
one picture (and not always a first-run
one) which is sandwiched in between the
cheaper form of entertainment, consisting
of vulgar skits — and short acts, acrobats,
dancing, third-rate music — the usual va-
riety show. The people continually passing
in and out interrupt and obstruct the
view, and disturb the enjoyment of the
picture. Added to which, in these houses,
because they were not originally designed
for moving pictures, the screen is usually
in the wrong place — either too high or too
low — seats are not placed conveniently for
seeing of moving pictures properly, which,
added to other disadvantages too numerous
to mention ( poor ventilating among them )
also disagreeable behavior of uncultivated
people and other such joys make the seeing
of a picture to any advantage an impos-
sibility, a hideous travesty in many cases,
and prevents an intelligent or enjoyable
appreciation of plot or picture. If one, as
in my own case, dislikes the "variety" form
of entertainment, it is a real punishment
to have to sit thru the few minutes im-
possible to avoid and necessary in order
to see the whole of a picture. No wonder
the "people" are indifferent to the latter,
under such conditions, and that the ma-
jority who haven't sufficient intelligence to
appreciate the best in anything pass the
movie by and make it a secondary con-
sideration.
I assure you that the inconvenience and
discomfort of trying to take in a screen
play under the above conditions is more
than a handicap. It is a calamity ! I speak
from positive knowledge gained by long
observation and experience.
So, it would seem that in Boston, at
least, the "box-office" majority (if that
phrase means what I think it does) arc
of the lower class of intelligence.
What is the remedy? It certainly docs
seem that something drastic ought to be
done — but what? To attempt the impos-
sible task of educating the "people" so that
they will know and enjoy a sin-
cere performance of the better
class when they see it? Or, must
we allow the worst only in the
movies to survive because it i^
the only kind desired by the
majority? It is a tremendous
problem.
A case in point to illustrate the
passing of a movie theater. Up
to a week ago Loew's "State"
was one of our best, but they
then inaugurated a new form of
entertainment, giving only one
picture, in the usual way, inter-
spersed with the usual variety
and vaudeville performances. I
wrote the management that they
would lose one regular patron,
in me, but that I knew what a
small minority I, unfortunately,
represented, and since it must be
a "box-office" matter with them,
{Continued on page 91)
8
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fiv Winnifred Ralston
From the day we started to school. < harity Wlnthrop
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MOTION PICTURE
Ql^^^io
JUNE, 1926
LOUISE BROOKS
JOHN BARRYMORE
MARIE PREVOST
Harold Lloyd
Campbell
Mary Pickford
Charles Chaplin
Alexander
Lillian Gish
Strauss Peyton
Doug Fairbanks
The TRUTH About
By Frederick James Smith and Tamar Lane
WHEN The Motion Picture Classic revealed
the inside facts about screen salaries a year ago,
there was general astonishment. The figures
were exact, disclosing the astonishing fact that the motion
picture pay-roll ran to $750,000,000 every seven days,
exclusive of extra players. This huge figure appears to
have shot up a little further during the past prosperous
twelve months.
Not that slumps haven't occurred among stellar sal-
aries. But, in the main, the trend has been upward.
There have been some slight
changes among the ten big
money-makers of the screen.
Harold Lloyd is still the
biggest earner of filmdom.
Last year his earnings were
estimated to run to $30,000
a week, or $1,500,000 on the
year. They have advanced
since that to about $40,000
a week or, in other words,
two millions a year. Here
we might disclose a bit of
inside information. Lloyd's
"The Freshman" had passed
the two-million mark last
March, an unprecedented
record for a comedv.
The Big Ten and Their
Earning
Harold Lloyd
Charlie Chaplin
Doug Fairbanks
Gloria S wanson
Mary Pickford
Norma Talmadge
Tom Mix
Thomas Meighan
Lillian Gish
John Barry-more
was a big success at the box-offices of the country and,
judging from its New York hit, "The Black Pirate"
seems likely to be Doug's biggest success. Fairbanks'
earnings ought to run around $20,000 a week easily.
With her shift to United Artists, Gloria Swanson slips
still further upward in the ten big money-makers of
celluloidia. Miss Swanson was getting about $8,000 a
week from Famous Players at the finish. It is said that
she was offered $20,000 a week to remain. Instead, how-
ever, she accepted the offer from United Artists. This,
we are told, provides a
guarantee of $10,000 a week
and a percentage of the
profits. Miss Swanson must
have estimated this total to
be greater than the Famous
offer, for she accepted it.
Like other United Artists,
Miss Swanson will head her
own unit.
Yearly
Harold Lloyd's Earnings
It must be pointed out that
Lloyd finances his own
picture organization, makes his own pictures, and ac-
tively heads the company. Thus everything his comedies
make over and above expenses is his own. Then, too,
the revenue from his old comedies continues, providing
added royalties.
Charlie Chaplin had a good year. To all the royalties
from all his old successes must be added the amount
earned this year by "The Gold Rush," probably well over
a million and a quarter.
Third place in earning power, as last year, goes to
Doug Fairbanks, who is the super-showman of the
screen. Fairbanks has had a big year. His "Don Q"
16
$2,000,000
1,500,000
1,200,000
1,000,000
1,000,000
1,000,000
780,000
675,000
500,000
400,000
Mary Pickford's Million
Mary Pickford's earnings
on the year ought to run
better than a million. Her
'"Little Annie Rooney" has
been doing exceedingly well
at the box-office of Amer-
ica at large and her next
picture, "Sparrows," may be
another winner. Indeed,
the Fairbanks-Pickford
menage has been doing itself proud.
A year ago the general theory was that Thomas
Meighan had passed his crest as a money earner. He
was getting about $8,000 a week then. Perhaps,
Meighan had some doubts himself about a contract re-
newal, for he signed to co-star with Norma Talmadge in
a single picture. Then the wiseacres had to eat their
words. Meighan was offered a million dollars by Famous
for six pictures more. He signed — and the plan to co-
star with Miss Talmadge was shelved. Meighan will
make about four of these six pictures during the twelve
months. Which gives him better than $12,000 a week.
W.tzcl
John Barrymore
Gloria Swanson
Tom Mix
Muriy
Norma Talmadge Thomas Meighan
FILM SALARIES
Inside Facts About the Stars' Earnings
Lillian Gish is in the big-money class again. Her
Metro-Goldwyn contract is estimated to run variously
at $8,000 to $10,000 a week. This will be a crisis year
for Miss Gish. Her "La Boheme" was a personal dis-
appointment. She must do better during 1926 to con-
tinue among the big ten.
Norma and Colleen
At least two of the big stars, Norma Talmadge and
Colleen Moore, owe their
tremendous money-making
capacities to their husbands.
Norma Talmadge is man-
aged by her husband, Joseph
Schenck, who is a power in
the picture world and who
also directs the activities of
Constance Talmadge, Buster
Keaton and Rudolph Valen-
tino. He has just added
John Barrymore to his
screen string.
Mr. Schenck has been
shifting gradually his stars
to United Artists. Norma
Talmadge's earnings can be
placed at over a million.
Here we may as well pre-
sent the earnings of the rest
of the Schenck string. Con-
stance Talmadge has earned
as high as $3,000 a week,
when she is working
steadily. Buster Keaton
probably averages over
$4,000 a week. Valentino
has been paid $100,000 per picture by Schenck. "Son
of the Sheik" is the last production under this arrange-
ment and doubtless the reception of this film will decide
Rudy's future contracts. In boxing parlance. Valentino
won a decision with "The Eagle." but the result was no
knock-out. Rudy's result with "Son of the Sheik" will
have to be more decisive to earn a continuance of a
$100,000-per-picture arrangement.
Surprising Film-Salary Facts
The four most popular men on the screen
today — Richard Dix, John Gilbert, Ramon
Novarro and Ronald Colman — receive less
than a half dozen or so leading men and
character players. These four, however,
have placed roles and opportunities ahead
of remuneration.
At $3,000 a week, Conway Tearle, Eugene
O'Brien and Lewis Stone are the highest
paid screen leading men.
Wallace Beery is the highest-paid char-
acter actor. He gets $3,000 a week.
Among the smallest star salaries are
Betty Bronson's $500, Dolores Costello's
$300, and Vilma Banky's $500.
Mr. Schenck is placing Barrymore upon the same
$100,000-a-picture basis. His "The Sea Beast" has been
a box-ofhce clean-up for the Warner Brothers, who had
Barrymore under contract, and doubtless won the atten-
tion of the astute Mr. Schenck.
The Biggest Flat Salary
Tom Mix still continues to receive the largest straight
salary. (Most of the salaries we are enumerating are
the combined results of sal-
ary guarantees and percent-
ages of profits.) Mix gets
$15,000 each week, week in
and week out, from William
Fox.
Under her Metro-Gold-
wyn arrangement, Marion
Davies receives $10,000 a
week.
There are a number of
high -power money -making
players close behind the
leaders. We have men-
tioned Colleen Moore.
Lifted to prominence by the
success of one picture,
"Flaming Youth." Mis^
Moore has been jockeyed to
the big money by her hus-
band. John McCormick, one
of the executives of First
National. Miss Mcxire was
in the $800 class when she
did "Flaming Youth." Now
she is getting around $8,000.
Pola Negri is receiving
around $4,000 a week, having recently renewed a
contract.
It is an interesting commentary upon the haphazard
business methods of pictures that the four most popular
men on the screen today, Richard Dix, John Gilbert,
Ramon Novarro and Ronald Colman, receive less than
a half-dozen or so leading men and character players.
{Continued on page 70)
17
The Movie Tribes Desert
Holly wood for Beverly Hills
Tents in
Don John Gilbert's mountain-top haci-
enda, viewed from his drape-protected
Dougledyas court and swimming pool
The costly homes of Moviedom
How solemnly they stand!
Amidst their tall, transplanted trees
On subdivided land.
THIS blasphemous parody may cause Mrs. Hemans,
pale poetess of the Victorian cachexia, to heave feebly
beneath the sward. But then Mrs. Hemans was never
in Hollywood.
I say in Hollywood advisably. Hollywood is not a place.
It is a symbol. Try to find it. As for living there — that
18
By
Don Ryan
is no longer being done
either.
The outside world incon-
siderately considers Holly-
wood a place, and a quite
definite place — to the bitter
disappointment of each ar-
riving visitor. Hollywood
thinks Paris a very wicked
city; but what Paris thinks
of Hollywood — ooh, la, la!
Persistent rumors have
given the world this con-
ception of Hollywood : a
place where one may expect
to see a motion picture
director and some other
scoundrel engaged in fisti-
cuffs on the corner of the
Boulevard, until a couple
of gentlemen come out of
an adjoining hop-joint and
stop them.
But if you ask the Holly-
wood Chamber of Com-
merce, it will tell you in-
dignantly that Hollywood
is the business center of
multifarious industry. The
Hollywood Chamber of
Commerce wears knickers
and its collective head is
bared to the kiss of the
California sun. But these
outward symbols do not
mean that it ever gets
frivolous. The Hollywood
Chamber of Commerce is
deadly serious.
A State of Mind
T^he truth is that Holly-
wood is a state of mind.
Of course, there is an under-
sized Gopher Prairie which
on the maps is labeled with
the name. This place — as such — has become the
Deserted Village of Moviedom. It no longer houses
the elite of the so-called movie colony. The studios re-
main, but even they are going — to make room for office-
buildings. The only substantial remnants of the Twelve
Tribes of Moviedom still tenting on the old ground are
camp followers such as poor devils of writers.
I myself live in what had been a chapel consecrated to
one of the legion of strange religions that spring up and
die down like mushrooms in this sunny land. Before the
exodus, in demand as a Studio Apartment, it brought a
rental ot $150 a month. I get it for $50.
The movie stars who formerly lived all over this hill
Canaan
A Visit to the Ornate Homes
of Several Silverscreen Stars
Drawings by
K. R. Chamberlain
Krotona, sacred to the con- /""^l
cepts of the lamented Mme. //
Blavatsky, have moved ^ j\*jy^
iwaj to Beverly. There
we see their expensive
new houses perched
each on its separate
crag, a monument to
the emolument of
popular public en-
tertainment.
If you s h o u 1 d
come out here to see
&C sights, you would
be obliged to hire a
large automobile - — with
good brakes : be sure of
that — and drive thru the
lonely slopes and canyons
of Beverly Hills, observ-
ing here and there the
Widely spaced dots of white
or pink which index the
tastes of those various archi-
tects employed by
various stars to
concoct The Home
Beautiful.
All Period
Residences
If you took the trouble
to drive up closely
enough to examine each
house separately, you would be
pained to make this observation :
all these places are period dumps
Italian villas, English country homes, An
Spanish haciendas. You look in vain
for an American house. You realize
there isn't any such thing; that a rich American, casting
about for a genteel way to spend his dough, must of neces-
sity go in for some damned period or other. This is not
the fault of the movie actors. We haven't any more a
national architecture than we have a national literature —
even less.
If you must choose a period, choose wisely. What style
of architecture is most consonant with California? You
win ! The Spanish. Those who have followed in the
footsteps of the Dons have chosen best of all. And here
we are, at the entrance of John Gilbert's new Spanish
Colonial residence.
Jack Gilbert's Home
Tack lives at the top of Tower Road. The tower that
named it broods on the apex of this range; crenelated
and roofed above the ramparts, stained with time in the
manner the studio sets are treated — dark streaks applied
with a crafty brush. The tower shelters no robber baron's
S//'
troop, it supplies Beverly Mills with water
for purely domestic purposes.
The raina that threatened to wa h
Valentino's hill from under him
have subsided. Swiftly in their
- I (j wake lh<- gnat deseil that is
\.y California has gone from brown
6 N\ to green — rioting in its
j\ brief period of verdancy.
}r\ From (dlhert's hill you can
A see fifty miles along the
ming plains and raise
the Island of Catalina
away at sea.
The country unrolls
at your feet like a
green plush rug,
pushed up into many
hillocks where the
baby has left his
blocks under it ; with
the spikes of oil der-
ricks over near the coast-
ine door, where baby
has been playing with
Erector.
To the left, handful after
handful of tiny toy houses
have been tossed around
and left in confusion: Los
Angeles. And twenty-five
miles across the
room the significant
hand of Mr. Heintz
has chalked in gigan-
tic white against the
sloping green the nu-
merals— 57.
You can watch the sea —
confides Emil — sometimes
so near, sometimes so far
away.
Emil is the sotnmeUer, a Belgian,
a good butler, not above being a bit
of a poet.
He conducts us thru the walled patio
planted with palms dug up and trans-
ported from San Juan Capistrano — palms a hundred and
fifty years old. The frieze on the wall is a trifling thing,
but it lets us have at once the feel of the place — the
giveadam atmosphere which is of its proprietor. The
frieze presents a shrouded Mexican slouched on a horse
before a ruined mission, behind him an indifferent cactus
and an impracticable ox-cart. Manana, says the frieze.
Jack Gilbert is himself a poet.
Proud of His House
Cmil has drawn up leather chairs before the window
" which displays a twenty-foot canvas of the world
below, beginning to be covered now with the pale gauze
of evening. Yellow stars twinkle into life, a handful at a
time — the lights of towns along the sea.
Jack is talking to us lazily, with the boyish candor which
always charms me. He is proud of his house. He has
just two things — this house and the studio to interest him.
(Continued on page 63)
19
impression of Charles Ray
at home
"Old Ironsides" Sails
How a Screen Spec-
tacle Is Being Built
About the Famous
Old Constitution
Off Catalina
The battered old Constitution as she lies in Boston harbo
has been built at Catalina from the navy's original
WELL, anyway masculinity is having a first-class
renaissance in motion pictures, wherever else it
is under a cloud.
We have rather had our fill of the flapper girlie-girlie,
pretty-dear films, haven't we ?
The motion picture industry may be still in its infancy
— but hurrah, perhaps it's a boy, after all !
This story, written around good "Old Ironsides," the
famous old frigate, the U. S. S. Constitution, is thoroly
and completely masculine. It is much more than just an-
other super-special put out by the Lasky studio. It is
much more than a fine patriotic film reviving American
national sentiment in its navy, reminding us of its proud
beginnings way back in 1804 A. D. and of the highly
creditable exploits of the third vessel built by a newly in-
dependent nation that was to rise in mighty world power
a century later.
It's all that, but it is also a magnificent masculine
gesture, designed, I suspect, to jolly well help in the new
vogue to put femininity back in its place.
Epic in Masculinity
"\A7ar, the sea, hard pioneering in remote lands — these
* " are still masculine strongholds. So behold, they have
given us war in "The Big Parade," in "What Price
Glory?" Not much eclat for the flappers in those. And
they have given us pioneering in "The Covered Wagon,"
"The Iron Horse," "The Pony Express." They have
given us the "Sea Hawk," "The Sea Beast,"
and "Down to the Sea in Ships." And now
they are going to give us "Old Ironsides" — the
sea, bilge-water, rope, seamanship, masculinity
in daring and endurance, masculinity in
courageous patriotism, masculinity in heroic
endeavor, mean masculinity, great masculinity,
fond but strong masculinity, clean and dirty
masculinity — but masculinity all thru in
an undiluted masculine setting.
r. A replica
plans
Everything conspired to create the
right occasion for the production of
"Old Ironsides." Just whether the
film will be good publicity for the navy
and help to restore the nation's pride in
this governmental branch, or whether
the government's activities in inviting
school children's pennies for the re-
- storation of the fine old boat will prove
dashed good publicity for the film.
doesn't much matter. The god of
Destiny is probably smiling in content.
The idea of making "Old Ironsides" the feature of a
picture had been simmering in the brain of Harry Carr
for years. Then one day his old school friend. Secretary
George Bancroft,
plus real whiskers,
plays the chief gun-
ner of the U. S. S.
Constitution. Ban-
croft saw actual ser-
vice in the navy for
six years
20
the Seven Seas Again
By
ALMA
WHITAKER
A painting, by
Duncan Gleason, of
the U. S. S. Con-
stitution, under full
tail. Below, James
Cruze, who is direct-
ing the film pro-
duction of "Old
Ironsides"
Curtis Wilbur of the Navy
Department, talked of his
dream of restoring the
noble old boat. Harry
Carr was thereby moved to
read up on its history —
and glowed to envision it
as a film.
Harry Carr's Idea
Derhaps Jesse Lasky was
inspired to prompt re-
ceptiveness of the idea because of the navy's "Old Iron-
sides" fund. But, anyway, Walter Wood, he who wrote
the script for "The Covered Wagon," "The Pony Ex-
press," and other achievements of Director James Cruze,
was called in. Equipped with Harry Carr's research
labors, he made a fine faithful historical record. At this
stage it was undiluted veritable history, with Admiral
Decatur of the U. S. S. Constitution as the arch hero.
But the wiseheads who knew their box-office tastes felt
that straight history would not quite do.
So here we find Laurence Stallings, co-author of
"What Price Glory?" called in to add the box-office
touch. It was Laurence who suggested the injection of
the good ship Esther, and of The Boy and The Girl.
It meant side-tracking Admiral Decatur a trifle — but even
admirals must make way for love's young dream. But
dont you suppose for a moment that love's young dream
subtracts one iota from its masculinity — it only com-
pletes it. It is so advantageous to have a sweet quiver-
ing maiden around to show masculinity off at its
best.
So there is just one maiden in it— the fair sweet Esther
Ralston, and her name is Esther in the play (and Esther
is a name associated with dutiful enchantment!).
Esther is permitted to have a mother in a few brief
glimpses, but, beyond that the only other female who has
anything to do with it is Dorothy Osier, who will ''cut"
the picture for James Cruze — and she has a boyish bob
and wears sailor trousers on the lot !
A novelty that is injected is that all the players bear
their own names in the play. Thus the villainous and dis-
reputable old bo'sn of the good ship Esther is pro-
gramed as W. Beery. The chief gunner of the U. S. S.
Constitution is G. Bancroft. The first mate is Fred L.
Kohler, and George Godfrey, the heavyweight colored
prize-fighter of the real-life sport sections, is the cook on
the Esther. Eddie Featherstone will play Commodore
Somers of the U. S. S. Co>istitution and Johnny Walker
will masquerade as Admiral Decatur.
The Boy is to be played by an almost unknown young
man — Charles Ferrell — until very recently a mere
"extra" of over two years' sighing standing. He is only
twenty-four now. He was an extra in "The Ten Com-
mandments" and ever since, until he slid over to Fox
and better pay and a five-year contract a brief couple of
months ago. So altho Lasky once had him, they have
had to hire him from Fox for this role.
And the film opens with The Boy, gazing at a navy
recruiting placard of those far-off days — an actual one,
borrowed from government archives in Washington :
Encouragement to Seamen
All GEXTLEMEN ADVEXTURERS and able-
bodied seamen wishing to share in the honors of war and
the spoils of victory in the present heroic venture of the
magnificent new ship "Constitution" against the Barbary
pirates at Tripoli ..." etc.
(Continued on page 85)
21
Reviewing- Pictures on Broadway
By Mordaunt Hall
PICTURES are presented on Broadway every week
during the four seasons of the year and therefore
with the regularity of a postman who brings the
morning mail the newspaper critic goes forth two or three
days a week to look at the films and write his impressions
of them. Sometimes the work is amusing, sometimes it
is even inspiring, and then there are also times when it
is incredibly dull. Conven-
tional themes of the wide-
open spaces and melodra-
matic mixtures of the
Great Northwest are not
apt to act as a mental
stimulus.
In the last three years I
have written criticisms on
more than six hundred
productions, and like a
number of other persons I
have thus beheld hosts of
men slain, countless heroes
emerge triumphant from
very nasty predicaments,
scores of maidens cap-
tured, rescued and kissed
with terrific, violence, in-
numerable tornadoes, cyclones, floods, fires and other
types of so-called thrills. I cant say how many times I
have seen the heroine's father reach into the right-hand
drawer of his desk and pull out a revolver because he
had met with financial reverses. This situation has lost
its tragic touch, -and become almost comic. I have men-
tally measured great rooms and figured out their rental
in Park Avenue. I have seen bathrooms large enough
for a company of soldiers. Then there have been
scented fountains, after-dinner bathing parties and tales
of hysterical flappers, whose chief activities are drinking
cocktails, speeding in Rolls-Royces and dancing the
Charleston. I have seen the birth, and I trust the death,
of comedy situations. For instance, there is the crack-
brained young man who tries to create laughter by not
knowing whether to use a knife, fork or a spoon on his
grapefruit, and there is his prototype who thinks it funny
to shake hands with the butler.
Mordaunt Hall is the motion picture critic
of The New York Times.
Since The Times holds a pre-eminent posi-
tion among metropolitan newspapers, as well
as among the great newspapers of the world,
Mr. Hall can be said to speak with unusual
authority.
Mr. Hall knows pictures thoroly and his
opinions each week are awaited by New
Yorkers with keen interest.
B
The Reviewer's View-Point
ut with all its shortcomings, this work is not uninter-
esting. I have reached the stage when I realize that
a producer, after all, may not have intentionally made a
dry production to annoy me. And then there are the
broad comedies, which have made me sigh, but which
nevertheless have appealed to the majority in the audi-
ence. Molasses poured on a man's head always brings
down the house, and so does the idea of the character
falling over some obstacle into a pool of mud. Pictures
are made to appeal to as many people as possible, and if
you dont like them, somebody will.
When it comes to writing criticisms on some dreary
mile of film, one becomes bored with even one's own
combinations of words. There is "mildly entertaining,"
employed to let a production down lightly. You really
mean that the readers can take it or leave it. "Quite
diverting," refers to something a little better, but the
"quite" qualifies the entertainment value of the effort.
"Told with his tongue in his cheek" once had its appeal,
22
but now it has taken on the semblance of a bromide.
"The fabric of this story" is threadbare, and so are "clap-
trap," "tawdry," "sloppy bit of sentimentality," "con-
traption," "slow-moving," "adequate acting," "trashy,"
"sparkling," "interesting" and even "attractive." "His-
trionic," "opus," "whilom," chef-d'oeuvre" and such like
make you think you are posing as you write. "Quite the
most interesting" sounds
as if you have stolen it
from a paragraph in "Town
Topics" and "sustained sus-
pense" seems as if it were
water-logged.
An ambiguous story is
one of my chief bugbears,
especially when the pro-
duction has some excellent
photographic effects. As
you cant make head or tail
of the plot, you can dismiss
the beauty of the scenes in
a word or two. The acting
may be negligible and like-
wise the titles. You feel
as if you would like to
write :
"This is an awful picture with some good scenes," and
fading out on that.
The Mediocre Pictures
C everal months ago there was put on one of the Broad-
way cinemas a picture which had so many characters
and was so bewildering that it would have made three
different stories and perhaps four. Then the hero in the
first chapter showed himself to be a gullible numskull,
and the heroine was no better than the young man, with
whom she falls gradually in love, while her caddish hus-
band, whom she had not seen for years, turns up at the
psychological moment. The story went on and on, drag-
ging most of the time, then picking up a bit, and finally
it was with intense relief that one perceived the ending.
As one man who seldom went to see pictures remarked,
it was the sort of picture which could have gone on for-
ever. There was no reason why it should have ceased
even when it did.
Soon after I began writing motion picture criticisms,
James Montgomery Flagg took offense at my review of
William S. Hart's "Wild Bill Hickok." Mr. Flagg saic_
that it seemed to him that I was a pale-faced spaghetti
hound, and he insisted that Mr. Hart's picture wa
worthy in many respects. I thought that the best thing tc
do with this letter was to print it, which I did, and the
head on it was very simple. It read : "He Does Not
Agree With Us."
On another occasion I wrote a sort of reminiscent re-
view of the last picturization of "The Light That Failed."
It was a fair picture, but it had not caught much of the
author's spirit. Somebody wrote, upbraiding me for hav-
ing made him come all the way in town to see what he
thought was an execrable bit of work. Another reader
objected to my review of the "Pony Express." He
wondered why I had not referred to the easy way in
which the hero polished off the villain's underlings. But
I must say that frequently I receive some rather nice
(Continued on page 74)
By
Everett
Shinn
The celebrated artist has caught the spirit of that strange interlude
between scenes — when cameramen and extras doze off to sleep and
principals begin to worry about their make-up. At least half of a
studio's working time is spent in this fashion
BETWEEN
SCENES
23
Four Famous Writers
E. Temple Thurston
A. A. Milne
Frank Swinnerton
Barney
By Henry Albert Phillips
E. Temple Thurston
P TEMPLE THURSTON I shall always re-
J-J • member as the author of "The City of
Beautiful Nonsense," a booh that for sheer
whimsicality captured my fancy completely.
Mr. Thurston's first wife — now deceased — was
Katherine Cecil Thurston, the brilliant author of
that fascinating novel, "The Masquerader.
Mr. Thurston told me that he had considered
seriously plunging in and learning the fihotofilay
technique in the studios, but that conditions
were not receptive.
"The American films are so infinitely superior
to the British that I dont wonder at the state of
things here and the poverty in English film
circles. English producers never really studied
A. A. Milne
A A. MILNE is the author of one of the most
*£"**• delightful books of the century — "When
We Were Very Young." When I saw him in his
charming home in Chelsea, London's Latin
Quarter, he told me that his publishers had just
reported British sales of this book more than
one hundred thousand and American sales even
in advance of that number. So it is quite pos-
sible that many of those who read these lines
may have enjoyed Mr. Milne's little book as
well. Or, you may have had the privilege of see-
ing on the boards — as well as on the screen —
that jSlay of rare charm, "Mr. Pirn Passes By.
"I think the average film drama is most
ghastly," replied Mr. Milne. Then like all the
the thing. In the main they are made uft of others, he partially reversed himself so as to say
cheafi photographers . Not one that I can think of
who has the faintest conception of what a story
is, let alone of how to tell it when he has it. All
they want to jSut on are ftretty pictures. In story-
telling, a certain abroach of mind is necessary,
lacking which one is unable to tell a story well.
The English film fieojSle dont begin to have that
talent. I might compare the British film pro-
ducer with that taxi driver down yonder."
that he liked the film as a medium, but not the
sort of things called the "film drama." "You see
what I mean is, I like Chaplin — and Harold
Lloyd. They are no end of amusement. And
that — uh — what is it called? 'The Adventures
of Felix!' And seeing plants grow before your
eyes • — and stunts of that sort — I'm all for
th
em
r
Isn't that just like you would think the fellow
(Both continued on fiage 68)
24
~I
CONDEMN the FILMS
FRANK SWINNERTON:
"I think the movies are a men-
ace to civilization. They malign
life."
A. A. MILNE:
"I think the average film drama
is ghastly. But I like Chaplin
and Harold Lloyd."
E. PHILLIPS OPPENHEIM:
"I find the films disappointing,
I mean in actual progress. They
seem to have fallen back, got into
a rut."
E. Phillips Oppenheim
The Second of a Series of Talks About Motion Pictures
With Famous English and Continental Writers
i/t
Frank Swinnerton
J7RANK SWINNERTON is generally recog-
nized as one of the most promising novelists
of the younger generation. H. G. Wells ana
Arnold Bennett openly acknowledge his genius
and hint that their mantle of greatness will
probably fall on his shoulders. All of which
bothers Frank Swinnerton not a jot. He goes
right along his own sweet way doing what he
pleases and gets there just the same.
The first time I met him, in London this was,
I asked him offhand what he thought of the
"films," as they call them in England, he said, "I
think they're a bore. I never go unless I have to.
I think they're awful!"
I learned later that he had been annoyed into
this ruthless statement by the several "inside"
contacts he had had with the cinema. "Wells
and Bennett go to see the films all the time
tho," he added almost penitently, to show that he
wanted his statement to be taken impersonally.
However, I adore Chaplin," he went on con-
cihatonly. "I think he is the one genius they
have produced as an actor. Just to see him do- And here is where Oppenheim comes to get his
mg the tiniest bit is a pleasure. It does not wonderful local color and to Pick uP these char-
matter how subtle your mind may be, you will acters at random — and does it so successfully
(Both continued on page 68)
25
E. Phillips Oppenheim
Z7 PHILLIPS OPPENHEIM has a,wa
•*-*** been my idea of the supreme story-teller.
I had always hoPed to meet Oppenheim some
day in or near the realm in which he creates his
literary and dramatic beings. If you will recall,
most of his stories are concerned with "foreign-
ers" of high degree or of low villainous motives,
which sooner or later brings us into the midst of
some breath-taking international intrigue. And
the scene of most of these exploits is the Riviera
and Monte Carlo, of course.
Here, at Monte Carlo, where I am writing
these words, I have seen ALL of Mr. Oppen-
heims characters — either taking tea on the ter-
race in front of the Cafe de Pans, at the Royal
Opera, in the gaming rooms of the Casino or at
one of Baroness Orczy's famous receptions at
her Villa Bijou. Russian princesses financially
embarrassed, swarthy Italian counts, Hungarian
nobles with long beards and monocles in one
eye, Austrian barons looking for jobs and, of
course, suave Englishmen — they are all here,
Fuming BEAU GESTE
By Alice L. Tildesley
T
??
WENTY-EIGHT miles out of Yuma, Arizona,
across the shifting sands of America's Sahara, a
plank road leads to a valley where a dream is coming
true.
The dream is Herbert Brenon's, but over seventeen
hundred men are laboring with a hearty good will to bring
it to realization.
A year ago, when Mr. Brenon was mourning the loss
of his second and dearest brother — the first having passed
on to Elysian fields some years before — someone put
into his hands the tale of the devotion of three "gay
romantics."
And "Beau Geste" of the screen — this dream of a di-
rector's heart — is to be in the nature of a memorial of
those elder Brenons, an offering of fraternal love, dedi-
cated to all brothers everywhere.
"A lions, Brenon, void la Legion.
Tiens, Voila les Francois; Voila les
Anglais; les Americaihs,
Qui combattent les Tonaregs
Nord Africain.
We come from the East ;
we come from the West;
We'll work like Hell
and never rest.
I say, Old Chap,
we'll do our best
To help you make
'Beau Geste' !".
The Foreign
Legion
YKIitk this
" paraphrased
version of the
famous "Song
of the Foreign
Legion," com-
posed in his
honor, the legion-
naires of the picture
greeted the chief when
he entered the African
fort which has been built
on the sand dune crest. . . .
And the spirit of the song is the
26
spirit of the making of the picture. It's "Beau Geste."
The war of the Riffs is responsible for the largest loca-
tion in history : since the company could not go to
Algiers, Algiers must come to the company. And who
will deny that it has come? Sand dunes — great golden
powder-fine heaps of dust stretching interminably to one
horizon — piling up in shifting outline toward a distant
range of purple mountains, to another : sand dunes
a-bloom with desert primrose, silhouetting ungainly
camels against a blue, blue sky !
The finding, building and running of this camp for
nearly two thousand men is a story in itself. Imagine
digging a well in a desert, establishing two electric light
plants, a complete telephone service, five miles of water
pipes, six miles of wire, twenty carloads of lumber — to
mention just a few figures in the staggering total.
Keeping in the spirit of the story, the location camp
is a military one. A bugler wakes us at
dawn and punctuates the day with
calls from assembly to retreat.
A captain commands the
army, four mounted or-
derlies stand by day
and night, and three
flags fly in "Beau
Geste Square."
"I have to pinch
myself some-
times and say:
'The war's
over!'" said
Ralph Forbes,
who plays
John in the
(Continued on
page 62)
Top: The mimic Sahara
fort in the Arizona
desert. Oval: Neil
Hamilton, Ronald Col-
man and Ralph Forbes
as the three brothers of
"Beau Geste"
Carsey
J
M. I. Boris
GILDA GRAY
Broadway awaits with keen interest the stellar screen debut of the little Polish girl
who captured its heart
27
Things That Will
Sk Never HaPPen
•i^ ""^siSs^ By K. R. Chamberlain ^—
Marion Davies suddenly finds
there isn't a single heroine
of history she hasn't played
\ John Barrymore decides
to make personal ap-
pearances with the show-
ing of his latest film, "Don
Juan"
Eric von Stroheim plays
the callow lover and
Louise Fazenda the vamp
in a film written and
directed by Elinor Glyn
28
^
>
hi
Two of Cecil De Mille's Yes-Men say "No!"
Doug and Mary decide to appear as Pa and Ma
in one of those Old Homestead stories, with
Valentino and Menjou as the wholesome, Charlie
Ray boys and Lon Chancy, Pola Negri and Gloria
Swanson as the glad, glad, ronjpy kiddies
Above, a cheery study of
Corinne Griffith when she
was a star at Vitagraph.
Next Miss Griffith is to play
Tatiana, daughter of the ill-
fated Czar Nicholas
THE next story selected
for Corinne Griffith is
one concerning the
imagined adventures of
Tatiana, daughter of the Czar.
For which give thanks !
Miss Griffith is the one real
princess in the land of Movie-
Make-Believe.
To Play Czar's Daughter
The illusion of moonlight
and music that she brings to
the screen is as real when you
meet her face to face. She
is as stately and exquisite as
one of her own white iris
fringing the woodland pool
beneath her pepper-trees.
When Walter Morosco
took her to Hawaii as a bride,
the islanders recognized this
quality, instinctively, and paid
it tribute. There was a pier
stretching out over the waters
that caress Hawaiian shores —
a pier overlooked by the
honeymoon bower — and here,
under a tropic moon, the
30
Her* j
ROYAL
HIGHNESS
By Alice L. Tildesley
natives came with guitars and ukuleles, offering incense o-
sweet and melancholy airs. They danced, too, the ancien'
island dances.
All of which entertainment is given only to those who in-
spire it and cannot be bought with gold. . . .
Came the Carpenters
Tt may be all very well to seem a princess in a setting as redolent
* of romance as Hawaii, especially on a blissful honeymoon — but
try to look the part in your own home with servants on the point
of .leaving, the upper floor full of carpenters and painters, the
Mandeville
Corinne Griffith has never considered giving up the screen because of marriage. "A woman with an ambition should
be careful to select a man who has a tolerant attitude towards her career," she says
grounds fairly teeming with gardeners requiring advice !
Yet there was Corinne Griffith, clad in April green
touched with buttercup yellow, maintaining perfect poise
in situations that would at least have furrowed the brow
of any other cinema star.
A private projection room is being built in the Beverly
Hills home. The mistress of the house stood in the half-
finished place, among pots of paint and cans of varnish,
surrounded by inquiring workmen — making swift de-
cisions, settling unexpected problems, with a despatch
and efficiency to be envied by a queen at court.
Somehow aloof from the pettiness of housekeeping,
she seems still beautifully capable of home-making. For
her home is the darling of her heart.
"We're going to have a well, a rustic well," she ex-
plained, bringing out a drawing of it, "The rocks are
coming this afternoon. I wish I could stay here and
watch them build the wall. Going back to work in a
picture after a vacation is like going back to school. I
have that sinking sensation — that vision of long weeks
of hard labor!
"Of course, I wouldn't give up pictures, any more than
I'd have given up an education, but — there you are !
The Fun of Planning
'It's such fun to plan things. This is the first vacation
Mr. Morosco and I have had together for a long
time, and we've spent most of it on the house and
grounds. We have an unwritten rule that pictures are
not to be discussed at home — we have enough of them
all day long. So we have a fascinating time witli
furniture and furnishings and landscaping.
"We have put in the most delightful hours reading
about periods of furniture and delving into the histories
of kings from whose reigns th.y date. You can almost
tell the disposition and habits of monarchs from the look
of furniture made under thei rule. Remember the
intrigue of France's courts at the time most of the French
dressing-tables and desks had secret drawers !"
The Grass Is Delivered
At this point, Japanese grass was delivered, and we
adjourned to the gardens to superintend its planting.
The sun brought out the gold in her brown hair as she
stood under the lime-tree, giving her serene directions.
That lime-tree, the row of eucalypti, and the gnarled
peppers that edge the drive are all part of the old estate
founded by the fortunate soul who was presented with
the land by the government. But the rustic lookout
house high up in a tree — the trickling fountain cunningly
arranged among the rocks and giant stump to make a
bird bath for her feathered courtiers — the tea-house by
its shaded pool, and the flowers that paint the gentle
slopes, are all Princess Corinne's.
White and yellow jasmine, purple wistaria, narciwi-
and heliotrope are among the fragrant blooms.
"We wanted to plant things that smell sweet," she
(Continued on page 88)
31
They Told
Busteii
to Stick
to IT
By HARRY BRAND
Stick to it, kid, and you'll be
a great comedian some
day."
Celebrities of the theatri-
cal world gave that advice
to a pint-size vaudeville per-
former a quarter of a centurj
ago.
The prophecy has been ful-
filled, but on a scale exceeding
the expectations of the most
wildly imaginative trouper. Fate
has given the youth the world
for a stage and an audience of
millions.
It was ten years ago that
young Keaton cast his fortunes
with the "movies," after travel-
ing hundreds of thousands of
miles and trouping all over the
United States and in foreign
lands since babyhood. The past
decade has witnessed the former
vaudeville actor's rise to the
heights as a screen comedian,
but to the old-timers who al-
ways'visit his studios when they
(Continued on page 80)
Melbourne Spurr
Buster Keaton as he is today — and when he was the kid of
the Three Keatons
Bushnell
32
William Totter
GRETA NISSEN
Altho the fascinating Scandinavian has been banished from the royal courts of Paramount to the
Siberia of Universal, we still have hopes. Won't somebody rush a pardon to the gal?
33
How the KEYSTONE KOPS
A scene from one of Mack Sennett's first Keystone comedies. Sennett
himself is the desk sergeant, while the trembling prisoner is Ford Sterling
IT'S a far cry from a second-hand clothing store, in
the grime which makes Sixth Avenue, New York, to
the old Keystone company studio on Allesandro
Street, Hollywood, but it serves to prove that a fellow
named Kipling, who once made the wise crack, "East is
East and West is West," was wrong.
All of which gives me a running start on the "inside
story" of how the Keystone cops came to be — those
amazing gentry of the law (in movies only) who
aroused, at one and the same time, the mirth of a
nation and the ire of numerous police
heads thruout the country. There was
a time when folks resented the affront
to the dignity and majesty of the law
offered by the spectacle of cops who
never caught anything (except a pie),
cops who believed they were cops be-
cause they wore a cop's uniform, cops
who always ran the wrong way.
cops who fell out of windows
(yes, you're right, always into
a tub of water or a bed of
mortar), cops whose uniforms
made th* conductor of the
Toonervine trolley look like a
fashion-plate, cops whose clubs
were made of rubber and who
always were run over by their
own patrol wagons.
The Inside Story
And still, if it were not for the
aforesaid Sixth Avenue
palace of second-hand ward-
robes, our own guardians of
the law might never have risen
in a body against their bur-
lesquers of the screen, the
chucklers of the world would
have missed millions of
34
Mack Sennett's fa
mous comedy Police
man developed fron
a chance Purchase ii
a New York second
hand Store
By Bert Ennis
chuckles and Mack Sennett's only clair
to fame might be that he gave to th
screen Charlie Chaplin, Mabel Normanc
Ford Sterling, Charley Murray, Fart
Arbuckle, Gloria Swanson, Marie Prevost
and a few other fairly well-known actor:
and actresses.
Which reminds me of the fact that this
HAPPENED
same Sennett
was respon-
sible for the
origin of the
Keystone cops
thru the medium of
a wire which came to
the New York offices
of the Keystone Film
Company in the year
1912 while I, in the
role of press-agent,
was begging editors to print the
then unknown names of the afore-
said Chaplins, Arbuckles, Nor-
mands, et al. In those hardy days
of the leaping tintypes many duties de-
volved upon the press-agent (they call
them directors of publicity now) and
therefore it was entirely in keeping that
Mack Sennett's wire, which requested the
urgent shipment of a quantity of "comedy
character clothes for ladies and gentlemen,"
should be turned over to the chronicler.
The Second-hand Store
ittle thinking that the result of my attention to duty
was to bring about a new era in laughs, I hied myself,
rire in hand, to the establishment of Harry Guttenberg,
rtio ran one of the most remarkable clothing emporiums
t has ever been my good fortune to see. Guttenberg
nade a specialty, and a most profitable one, of buying and
elling the wardrobes of various theatrical productions
rtiich suffered "box-office anemia," a disease, which, by
he way, will cause rotund, healthy magnates of the screen
nd theater to turn pale and shudder at its mere mention,
rhe Guttenberg establishment dealt in costumes of every
lescription, both straight and comic, and incidentally,
many <>f the evening
gowns and dress suits worn
by your favorite celluloid
hero and heroine in the early
days of picture making, came
from the shelves of this Sixth Ave-
nue purveyor of wardrobes. Shades
of Gloria Swanson and Jack Gilbert,
think of it!
Keeping in mind Mack Sennett's insistent
desire, expressed telegraphically, for comedy
character clothes, I successfully bartered with
Harry for the acquisition of bell-boys' suits, por-
ters' uniforms, rube clothes, dancing girls' costumes,
sailor suits, soubrettes' dresses and frock coats, not to
mention an odd assortment of coats, pants, vests and shoes.
The Police Uniforms
Peeling that I had done well by Mr. Sennett and his
comic inclinations as regards proper wardrobe for the
Keystone players, I was about to depart when Gutten-
berg pointed out insinuatingly that he had a choice line of
police uniforms, including coats, pants, helmets, clubs
and sockets. His Sixth Avenue eye for business then
and there gave birth to the foundation on which the
Keystone cops were builded in far-away Hollywood, into
a tower of strength for Sennett and all those original
comedy film producers who aped the successful innova-
tion of burlesque police.
Giving little or no heed to size, fit or condition. I
obliged my outfitting friend by purchasing these police
uniforms and shortly thereafter sped the entire assort-
ment of comedy clothes, in several trunks, to the studios
of the Keystone company.
Came the Keystone Cop
he astute eye of the man responsible for the screen's
first bathing beauties fell upon the conglomerate assort-
ment of uniforms, helmets and clubs, and delighted to
find that the oversized garments worn by the law's repre-
sentatives lent an especially ludicrous appearance to un-
dersized extras in the roles of policemen, it took him
little or no time to direct a comedy in which the now
famous Keystone cops played an important part. Movie
goers everywhere greeted the crazily dressed, awkward
police squad with howls of glee. Justly proud of his
comedy bull's-eye, Sennett delved farther into the trunks
and unearthed the balance of the police raiment. Key-
stone cops ran riot in. every Sennett production. They
were fooled by the wily Chaplin, tripped by the innocent
Arbuckle, vamped by the scintillating Mabel — and they
became an institution.
It may interest readers of this magazine to glimpse a
copy of the clothing contained in the shipment which
helped to make film history, and it so happens that the
writer of this story saved a list of the contents of the
various trunks which went to the Keystone Company
in 1912.
The Original Bill
Oere it is :
n Policemen's outfits. — Thirty uniforms consisting
of short coats, long coats, double-breasted, single-breasted,
{Continued on page 74)
35
She j
WANTS
to
SUCCEED
By Alice L. Tildesley
T
Clara Bow has been called variously "a little roughneck,"
"the screen's madcap" and "the Happiest flapper of them all"
HE girl is Clara Bow.
The idea is success.
And I defy anybody or anything to keep
her from her goal.
She. has been called variously, a "little rough-
neck," "the screen's madcap," and "the flappiest
flapper of them all."
But she is a human dynamo, overcharged with ambition
and energy — a frank and amusing child possessing the
grit and determination of an army.
Back in Brooklyn
\X7hen she was a Brooklyn high school freshman.
' even then movie-mad, Wallace Reid made a personal
appearance at a local theater.
36
Clara Bow
has one goal
— Fame
Nothing else
counts
"I got there at noon
ami sat in the trout row
until he came on at half
seven," remem-
sd (lara. "1 wanted
iee him close up —
ami 1 did. I thought he
was marvelous. 1 de-
cided that I'd like to act,
too, and 1 knew I'd do
it. some day.
"I dont know why I
had the nerve to think I
could. I was fat and
short and funny-looking
irt of an ugly little
thiiiL
The dark-eyed young
beauty on the chaise-
longue in the studio
bungalow hugged her
tweed-k nickered knees
and tossed back the red-
gold glory of her hair.
The ugly duckling has
repeated the history of
the swan.
"The minute the fan
magazines were on the
stands I bought 'em. I
read Classic and Mo-
tion Picture and
Shadowland and all of
'em — and one day I saw
a Brewster contest men-
tioned. It said. 'Send in
your picture' — and I
went to a cheap pho-
tographer that very day.
"The pictures were
rather bad, I thought,
but I sent 'em anyway.
I waited. I dont think I even hoped very much. I could
see what I looked like in the mirror.
"One day I went down-stairs for the mail and saw the
postman standing with a long envelope in his hand.
Before I took it I called up-stairs : 'Daddy, I've got in
pictures !' — It was marked 'Brewster Publications' and
it read that I was to come to the office for a test.
The Contest Test
T was fifteen and I hadn't any fancy clothes. I wore a
gingham dress and went with my father on the street-
car. When I got there, other girls were getting out of
automobiles. They all seemed to be wearing silk or velvet
or chiffon. I wanted to go home, but my father wouldn't
let me.
"The judges were there — Mr. Brewster and some
others. I suppose they were surprised to see me but they
didn't say anything. They had someone make us up
for the screen tests.
"I watched the others. They looked at me as if I was
'I'm never going to give
I can
up the screen. I have to have an outlet for all this energy,
pour it into pictures — and I love pictures!"
Orphant Annie — sort of down the side of their noses —
but I saw what they did and when the director said :
'Dont do this or that,' to them, I thought 'I'll remember
that's a bad thing to do.' The trouble was, I thought,
that they were all trying to do it like somebody they
had seen on the screen, not the way they'd do it — the
way they'd feel themselves. When it came my turn, I
did it the way I'd do it myself.
"Nobody said anything. We all went home. Fretty
soon there were more tests — eight in all — and finally
nearly everybody was eliminated.
Clara Wins!
"all this time I had to go to school, but I was late and
never knew my lessons. I was always kept in and I
simply couldn't study. All 1 could think of was picture- !
I figured out what to do for tests and what tests they
might give me — I was a nervous wreck from hoping and
worrying.
{Continued on page 90)
37
MORE IMPRESSIONS
AT the Pickford-Fairbanks studio they have an
/A Arabian desert so perfect that the sun seemed to
beat down upon my -bare head, the sand got in my
shoes, and many miles away (apparently) I could see
shadowy trees and mountains of sand. Arabs and all
kinds of queer characters were wandering around, and it
was for all the world just like the edge of the great desert
I saw last spring.
It was a scene in "Son of the Sheik," and Fitz-
maurice was directing. Vilma Banky and Rudolph
Valentino soon appeared, and after a few rehearsals
Rudy made violent love to the fair and voluptuous Vilma
and carried her not unwillingly off while the camera
clicked. But one of the rocks overturned and they both
fell down in a heap. They tried it again, but this time
they got tangled up in some of Rudy's flowing robes and
Vilma's gauzy draperies and again they sprawled in the
sand. They both took it good-naturedly and even Fitz-
maurice enjoyed it. Four more times they tried it and
at last they did it perfectly.
"I doubt if you have ever had or ever will have a
handsomer couple than that to direct," I said to Fitz.
"Quite true," he replied, "and they are both splendid
to work with. Rudy is a fine fellow and a true artist.
He's always ready to work and he likes the rough stuff
as well as these tender scenes. He's as strong as an ox,
too, and he loves to get in the fights and treat 'em rough.
Vilma is also one hundred per cent, and it is a pleasure
to work with such artists."
At the Fox studio the other night they gave a little re-
*^ ception and dinner to some of the stars and a few
invited guests, and there I met lots of my old friends,
including Paul Panzer, and made a few new ones, includ-
ing Edmund Lowe. It was hard to believe that this was
the tall, handsome, straight, dark Edmund that I have
admired so much on the screen. He gave me the im-
pression of being a blonde, or red-headed, and blue-eyed
— quite different than I expected, and not so good-
looking. Yet, he was very democratic, unassuming and
likable. Olive
Borden was also
there, a vivid
brunette and
beautiful, but
what attracted
me most was a
pair of midget
stars — Georgie
Harris (male)
and Barbara
Ludder. They
are both well un-
der five feet and
they were like
grown-up chil-
dren not yet
grown up.
Georgie was ter-
ribly "cute" and
conversed
sparklingly and
all the women
were flocking
around him.
Barbara was
equally so and very charming and pretty, and all the men
were flocking around her. They are playing together in
two-reel comedies and are getting quite popular I'm told.
Mot a great way from Los Angeles is Arrow Head Lake
on the top of a huge mountain where -many players
go for the week-end. The lake is over a mile higher than
the road at the base of the mountain, and it is some climb
in a car, the narrow road winding up like a snake going
up a telegraph pole. And it makes your ear-drums sing.
Before you are half-way up you begin to gasp for
breath, but you soon forget this when you look out upon
the gorgeous scenery and the towering mountain peaks
and the placid Pacific in the distance. And it is thrilling
because you realize that one little slip of the steering-
gear or a moment of inattention by the driver and you all
will go plunging down the abyss over the rocks and cliff
below for perhaps half a mile, where you will wake up
and find yourself in Heaven — or the other place.
[ spoke before the Wampas at a dinner given by them
recently, and before the Wasps, a couple of weeks
previous. The former are the pressmen of these parts,
the latter the presswomen, and a fine lot of fellows and
girls they all are.
B
obby Vernon took me out for a day's outing last
Sunday in his beautiful motor yacht. We sailed all
around the harbor, and out in the Pacific nearly to Cata-
lina Island and he pointed out all the yachts of film celeb-
rities and others, many of which were very pretentious,
indeed. Bobby himself was at the wheel, in yachting
costume, and he made a jolly and capable captain. His
yacht is about fifty feet over all and contains every mod-
ern convenience including sleeping accommodations for
about a dozen. In the party were his charming little
wife, Mr. and Mrs. Pat Bowling, of Christie Comedies,
Corliss Palmer, the skipper, and myself, but Bobby was
the life of the
party. He is a
regular fellow in
every way, . a
good host and
quite a wit. His
. boat was so spick
and span every-
where that it
gave the impres-
sion of having
never been used
— even the en-
gine-room where
the brass work
shone like gold
with not a speck
of dirt or grease
anywhere.
Ul R G I
v B R o
Eugene V. Brewster visits
Laura La Plante while Director Mel Brown
acts as reporter
N I A
W N
Faire favored
me with an invi-
tation to dinner
38
of HOLLYWOOD
By Eugene
V. Brewster
Saturday night at the Biltmore Hotel and I found her
just u charming as she was in 1919 when as a mere child
ted her in her first screen tests which won 1km a
•i the Fame and Fortune Contest. All she needs
ood part ami she will yel stage a big comeback.
•stewart. Edmund Lowe and Mice Calhoun were
ind were very good to look upon.
\nv where some four hundred guests were as
tnbled to do honor to Carl Laemmle, J. Stuart
Bkckton made a splendid speech, followed hy Edwin
. arewe. Bert Lytell and others. They also showed some
novies mimicking "Uncle Carl" and doings at Universal
,'ity. Among the jokes was a topical song satirizing the
fact that there are several dozen Laemmles employed at
Universal, the chorus being:
"Send all the extras off the lot,
( >nly Laemmles will be in this shot."
There was also a movie of several thousand men walk-
ng in procession, introduced by a title :
"S<>me of the recent business managers of Universal."
They are still wrangling at Universal, and poor little
Mary Philbin has been doing nothing for many months
except draw her salary. 'Tis a crime, says I, for this
wonderful little lady would soon be at the top if they
would only give her a chance. Erich von Stroheim tried
:o borrow her recently for a very important part but the
L'niversalites are not particularly fond of Von and they
would not let Mary go. True 'tis 'tis pity, and pity is
tis true.
|i\st after seeing a private view of "Tramp, Tramp,
Tramp," Colleen Moore took me to a corner where
>tood several men and said, "I want to introduce you to
Harry Langdon." I looked them all over before holding
Dut my hand and then said, "Which one?" They all
aughed and one of them held out his hand. "You dont
mean it !" said I. But
le did mean it. It
was really he. He
wore a regular
Fedora hat with the
jrim pulled down
:>ver his forehead,
ind glasses. I would
never have believed
:hat it was Harry or
iny other actor. We
:alked about the pic-
ture and he showed
:hat he was about as
wise as they make
:hem, and thoroly
businesslike. Fur-
:hermore, there was
nothing funny about
aim. But wait till
you see that picture!
If you dont get a
:housand laughs out
3f it. you haven't got
i funny-bone.
| DiM.i) with Larry Semon and his wife, Dorothy Dwan,
at their tine home which is, i,f <"iirse, up on top oi a
hill. Why is it that SO many players always try to ^'
high as possible in the world? Perhaps because
want to get near Heaven. Larry is very happy, in spite
of the fact that he le.uhed the high spots in pic turedom
a few years BgO and has imt been able to keep himself
there. But he told me that he was only thirty-five and
full of fight and that the world would SOOU hear from
him again in a big way. He is now doing another
feature-length picture and is full of hopes. So am 1.
He deserves to win out.
* * *
Dudolph Valentino invited Pola Negri, Corliss
Palmer and me to dinner recently, but at the last
minute Pola phoned that she had been vaccinated the
previous day and that she was sick in bed with a fever.
I found a large photo of Pola in Rudy's bedroom, how-
ever, and it was the only one! Rudy has a fine Italian
villa on a mountain top in Beverly Hills, and while it is
all white within and without, the hangings are mostly of
a brilliant red everywhere, and the woodwork in his
bedroom is bright dark green. His brother and sister-
in-law were the only other guests and we enjoyed a
pleasant evening together.
* * *
Dobby Vernon will have his little joke. In all serious-
ness the other day at luncheon he said he had picked
up quite a little money by teaching Spanish. He said he
got a dollar a lesson and guaranteed to teach the language
in one lesson. I bit, paid him a dollar, and took a lesson.
Pointing to a knife, fork, spoon, etc., he said: el knifo,
el forko, el spoono, etc., and now I am a full-fledged
Spaniard.
* * *
V
Eugene V. Brewster drops in to call upon Mary Philbin
alextino is considering whether he will play a double
role in "Sor of the Sheik," and he has been making
some tests as the old. father. He is strongly in favor of
playing both parts, but Director Fitzmaurice fears that
double roles are inclined to detract from the story and
destroy reality. However, if the tests prove excellent, he
will probably yield
the point. Hence, I
think you will see
Rudy playing both
parts. And you will
see a newer Valentino
than you saw in "The
Eagle." He is full
of confidence now.
and chuck-full of en-
thusiasm and ambi-
tion, which is plainly
showing in his work.
A shower was
given to Kathleen
Clifford the other
night at the beautiful
and elaborate home
of Mr. and Mrs.
Tom Mix. Mr s.
Clarence Brown is a
society leader here
and she got it up.
{Cont'd on page 73)
:J9
CELLA LLOYD SOLVES
Scene I
Pa Lloyd spends all his time with the
property-men and all the rough boys on the
lot. Where else, demands Pa, can you find
honest guys?
J[l ^ETURH
n^WPKOP!
Lathis meai^$ VooJ
40
THE PROBLEM OF PA
WHAT'S GONE ON BEFORE
Now that Cella Lloyd, winner
of a bathing-girl contest, is safely
established as a Hollywood lumi-
nary, the problem of Pa Lloyd be-
comes a serious one. Like all
movie pas, Mr. Lloyd cant accli-
mate himself to the glories of the
film world. He's just his natural
self — and where, in Hollywood, is
there a place for such a gent?
Now read on!
Scene III
So Ma and Cella bundle
Pa off home. Pa is a little
depressed, but he re-
members how good the
fishing is along Spruce
Creek
Scene IV
Now every evening Cella and
Ma are seen at the Alameda
Gardens, dancing and having a
jood time with one of the re-
:ently imported Swedish leading
men and Dr. Wienberg, the
popular psychoanalyst. Continued
next month I
41
Another
Bathing
GIRL
Makes
Good/
Right out of the Polytechnic High
School in Los Angeles, Vera Reynolds
started her screen career in Mack
Sennett and Al Christie comedies. Vera
had read all the stories of the screen
stars and she knew just the right place
to start. Her first mild hit was scored
as Gloria Swanson's daughter in "Prodi-
gal Daughters." Then Cecil B. De Mille
found her. She was in "Feet of Clay."
And recently in "The Road to Yesterday"
42
Starring
LADY
LUCK
By
Norma Johnstone
JANE WIN TON is a favorite of the
god of Chance — possesses a potent
rabbit's foot — or is vibrating on the
right plane.
Take your choice.
To most of us Luck is a fugitive elf,
never around when needed, but to Jane
Luck has played a
big part in Jane
Winton's career. A
few years ago she
ran aw ay from
school. Now she
has a prominent
role in John Barry-
■'- r'Don Juan"
mores
Melbour
Winton he is constant as a shadow on a sunny day.
She had never studied dancing, yet she was in the
Fokine ballet. She had no stage experience, yet Ziegfeld
put her in his "Follies" ; no screen training, yet Lasky
made her sign a contract ; no roles of any importance, yet
John Barrymore gave her a coveted part in "Don Juan."
And so it goes.
Her loveliness may account for Luck's faithfulness.
Her hair is bright brown, her eyes long-lashed and gray,
her features perfect, and her hands have been a sculptor's inspiration. But
besides beauty, she has brains, and besides brains, she has ambition. . . .
Makes the Ballet
hen Jane was a little lonely girl in New York, a runaway from Phila-
delphia, trying to make two dollars do the work of six, she heard that
Fokine was selecting girls for his ballet.
She had not had a lesson in her life, but she had always danced. Attired in
a one-piece bathing suit, Jane sat in the orchestra of the theater,
watching the other applicants being tried out on the bare stage.
"Oh, why did I come?" she kept saying to herself, as girl after
girl, attired in delicately beautiful ballet costume, and carrying her
own special music, appeared behind the "foots."
Jane had just decided to vanish unobtrusively when her
name was called.
"Where's your music?" asked the pianist.
"It's — I thought you'd know how to play it," she sparred,
struggling to think of some music — any music! "I didn't
bring it. It — it's 'Kiss Me Again.' "
(Continued on page 77)
43
N
OW that Hollywood has sat
isfactorily disposed of tru
FLASH
By F. J. S.
German film menace, a new
screen ogre has arisen. The new
bugbear has its habitat in Russia
and isn't going to be dislodged so
easily.
The ogre, to be exact, is the Rus-
sian Goskinprom producing practi-
cally all the Russian motion pic-
tures. This organization has the backing of can film industry. "Variety" was a story of the
the Soviet Government, which, for a long time, circus, the romance of an acrobat and a pretty
has been studying the screen from both propa- aenahst. In the German story the acrobat was
ganda and amusement angles. Only recently married and had several children. This original
it is said that an invitation was extended to film was shown with success in London, without,
Charlie Chaplin to come to Russia for a single we think, seriously damaging the morals of the
picture. Just before Doug Fairbanks and Mary British Empire.
Pickford sailed for their European vacation, However, the story is being reconstructed for
which, by the way, will take them into Russia, our delicate tastes. The acrobat no longer will
it is said an invitation came from the Russian be guilty of moral turpitude. In fact, he will
Goskinprom. be the father of the firetty aerialist, who, by the
We doubt that the Russians will win over way, is no other than Lya de Putti. This f>rob~
Mary, Doug or Charlie right now. But there ably isn't going to helfi the story any, but it will
is no question but that the Russians are reach- keeji the screen safe for Americans.
mg out for stars and directors. Fritz Lang, the It is interesting to note that one of the last
director of "Siegfried," has just accepted an Ufa films was "Manon Lescaut," starring Miss
offer from the Russian Goskinprom and has de Putti. Is this screen version to be shelved
gone into the land of the Soviets to produce.
We can imagine the problem the offer pre-
sented to Lang, torn between the adventure of
Russia and the lure of money in America. Lang,
incidentally, has just completed "Metropolis,
which, if reports from Berlin are to be believed,
is likely to prove a sensation. It is a mingling
of satire and fantasy, a picture of a strange
Utopia of the future.
now that John Barrymore is to do the story?
Or are we to have two "Manons," one with the
ornate de Putti and the other rebuilt to fit the
needs of a highly fiaid male star.
Right now the metropolitan critics are greatly,
exercised over the fact that D .W. Griffith is to
film Theodore Dreiser's two-volume "American
Tragedy. ' Many of the commentators appear
Lang's first Russian picture is adapted from to have thought of a number of other directors
a native story and will be called "Panther Skin." they would like to have direct the Dreiser tale.
Meanwhile, the film industry has due warning This story, by the way, concerns the son of
an evangelist who.
of its latest men
ace. We doubt if
it will swallow the
Russian Goskin-
prom as easily as
it downed the Ufa
organization. The
Soviet Govern-
ment stands in the
way.
Sneaking of
Ufa reminds us
that the local film
magnates are at
present tinkering
with " V ariety,"
the last Emil Jan~
nings picture to be
made before Ufa
became a subsidi-
ary of the Amen-
44
Hollywood now has a baseball team in the Pacific Coast
League. Clara Bow is its mascot. The gent behind the
bars is Lester Cook
upon ruining and
killing a girl, dies
in the electric
chair. It is a trag-
edy of small-town
morals, being
based upon an
actual murder
case up York
State.
As we have said,
some of the critics
have taken it upon
them selves to
worry about Grif-
fith's probable
treatment. They
intimate that he
may even insert a
ride to the rescue
and point out that
BACKS
About Pictures and People
tfon. No eotnodp, utuoot vou got a
chuck),- out Of Francts X. Bushman
in armor. I he St-u Beast ? An-
other leg lost here and the whole
effort studded with B arry more s
ga-ga emotionalism on the loose.
Not a chuckle, unless you got one out
of the whale. La Boheme ? A gal
doing a Camille while Jack Gilbert
slides in and out of scenes after the
he has already saved a gangster from the chair fashion of Ty Cobb making third base. A mild
in the modern episode of "Intolerance. giggle in this. "Stella Dallas"? A veritable
Personally, we cant see anything wrong with handkerchief extravaganza.
the choice of Griffith. In fact, there s a lot in No, we'd hirdly call it comedy year.
common between the two. Surely both are dis-
tiriL-tlv American. Both have the same weak- Last month we started naming our twenty-five
nesses and strengths. They weave loosely, in- hits of the oncoming screen year. We presented
sert a lot of extraneous matter, love to dawdle fourteen of them and postponed predictions as
over details, and every now and then evolve a to the remaining eleven to this issue. The added
crashing, tearing interlude.
We would like to see a Griffith discovery of
the past, Charles Emmett Mack, in the role of
Clyde Griffiths. George Hackathorne would be
our second choice.
Anyway, here is an interesting slant upon
changing public opinion. In 1900 or thereabouts
eleven
Ernst Lubitsch s "Revillon.
W. C. Fields' three comedies.
Pola Negri's film directed by von Stroheim.
Griffith's "American Tragedy.''
James Cruze's version of Copek s "R. U. R.
Harold Lloyd's next comedy, said to be a
Dreiser's first novel, "Sister Carrie, was throt- mountaineer story. But Lloyd s next comedy,
tied by its frightened publishers. Fifteen years whether or not it is a mountaineer story,
later his "The Genius'' was the storm center The other three places we reserve for what-
of a concerted attack by the Comstockians of ever big pictures are attempted by King Vidor
the day. American literary tastes developed and John Robertson.
in the interim. Now Dreiser is to be filmed.
Incidentally, the Devil s advocate of twenty- While were on the subject of screen authon-
six years ago receives $90,000 for his "American ties, we want to take uj> the subject of "The
Tragedy'' and a pretty
definite guarantee from
Herr Lasky that it is to
be produced as is.
Only a few months ago
the screen authoriti e s
were naming the mcom~
mg season as the great
comedy year. The twelve
months were to be de-
voted to laughter and
giggles, it was to be the
year in which our come-
dians came into their
own. The good old drama
was to be crowned with
a custard jSie.
Let s jSause to consider
how these jSredicti ons
have made out. No, not
so good. Take "The Big
Parade," without much
comic relief. And the
hero loses a leg. "Ben-
Hur ? An orgy of Chau-
tauqua religious emo-
Pacific & Atlantic
Doug and Mary, accompanied by Mary's adopted
daughter, Gwynne, sailed away for a European
vacation early in April
Tower of Lies. every
time the critics want to
take a crack at the Jowly
taste of our film audi-
ences, they comment
ujion the lukewarm re-
ception achieved by this
picture produced by Vic-
tor Seastrom.
Even my confrere ,
Tamar Lane, is ujSset
about this. "That the
movie industry itself has
allowed the fineness, the
beauty, the brilliancy of
The Tower of Lies to
ftass by unnoticed is not
unusual," he sobs — but
he cant arouse an an-
swering sob in our flint-
like bosom.
We considered The
Tower of Lies' to be
jSseudo-arty. It was the
story of an old feasant
who became the local
(Continued on page 89)
45
M^^^
1 J» ^
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Jki
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' f ^
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\
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r uw
^B^||K
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/i
^B r
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rfg-
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OWN
NEWS
CAMERA
MB
Bessie Love is proud of her dancing ability. Between scenes
of "Lovey Mary" she takes lessons from Flynn O'Malley, a
professor of the Charleston
Left: June Marlowe demon-
strates the newest thing in
Deauville bathing attire. The
suit is of silk and wool, the
hat of vari-colored woven
straw and the parasol also of
straw
Lower left: Leatrice Joy and
Helen Ferguson at the
Hawaiian party given by
Miss Joy in honor of Don
Blanding, artist and writer,
upon his return from Hawaii
■
Pacific & Atlantic
International Newsreel
46
Coach Dean Cromwell, of the University
of Southern California, shows Greta
Oarbo the fine points of running. "The
start's the thing," says Cromwell
Compare the Deauville costume with the
California bathing-suit style demon-
strated by Barbara Worth. Local style
makes good, say we
Don Gillum
A bird's-eye view of Charlie Chaplin's studio, with the "big top" now
being used in the circus comedy. Charlie used to live in the house at
the left, just back of the tennis court
47
How the Charleston
would have looked to the
staid Puritans. Edna
Lyons and P a u 1 e 1 1 e
Neville, extras in "The
Scarlet Letter," demon-
strate their Charleston
dexterity
The newest thing in bath-
robes on the California
beaches is a Navajo blan-
ket. Here is Pa^sy Ruth
Miller illustrating its
effectiveness
Do you want to take off ten
pounds or so, without injury to
your health? Estelle Clarke
says this exercise will do it. Lie
flat on the ground and, keeping
the arms straight, touch the
toes to the ground back of your
head. How many times? Oh,
forty or fifty, says Estelle
International Newsreel
48
Charlie's FIND
International Ncwsreel
Altho she was born in Chicago, Miss Kennedy was raised in Los Angeles.
She has known Lita Grey (Mrs. Chaplin) since childhood. They went
to the same dancing school. Later Miss Kennedy appeared in vaudeville
with her brother. They were dancing at the Hotel Ambassador when
Lita and her grandmother happened to see them again. This meeting
led to Chaplin's signing of Merva as the little bareback rider of his new
comedy. Meanwhile, Doug Fairbanks has been reported as interested in
Miss Kennedy
Pacific & Atlantic
49
Ball
Frederick James Smith
HAROLD LLOYD has hit the comedy gong again
with his newest laugh effort, "For Heaven's Sake."
This comedy isn't another "Freshman." it should
be explained. "The Freshman" is still the high point in
Lloyd's humorous career.
"For Heaven's Sake," however, is highly diverting.
If anyone but Lloyd were its star, it would be looked
upon as a sensation. This time the spectacled Boy, other-
wise Lloyd, is a young millionaire without an aim in life
until he meets the Girl. The Girl is the daughter of an
East Side evangelist. There are a half-dozen amusing
episodes, starting with the way the Boy gets the tough
gangsters of the neighborhood into the newly opened
mission. The Boy, of course, becomes eventually the pal
of the East Side gentry. There is a hilarious finish when
the Boy attempts to keep to-
gether his wedding reception
committee of five gangsters,
in hired dress suits and ex-
pensively acquired buns.
Lloyd is admirable in this
comedy and he is given excel-
lent assistance by Jobyna
Ralston. You will find "For
Heaven's Sake" well up
among Lloyd's second-best
comedies.
Lardner's Baseball Hero
T liked Thomas Meighan's
1 "The New Klondike" im-
mensely. This is far and
away ahead of anything this
star has contributed to the
screen in a long time.
"The New Klondike" is an
amusing story of the devas-
tating effect the Florida real-
estate madness has upon a
baseball team. It is written
with a fine sense of humor by
Ring Lardner, who knows
more about ball players than
anyone I know. The story
itself — of a baseball star who
is canned by a crooked man-
ager and who wins his place
50
THE
CELLULOID
CRITIC
on the team along with the managership — isn't much.
The Lardner slant upon these grown-up children of the
diamond and upon the Florida Klondike (that was)
makes it diverting. The direction of Lewis Milestone,
too, is excellent.
Thomas Meighan plays Tom Kelly, the baseball star
who is so basely treated by the scoundrelly manager.
Meighan is just himself in a role that shrieks for char-
acterization. This star was once an excellent actor. Re-
member his work in "The Miracle Man" ? Now he
seems afraid to characterize.
The real honors of the comedy go to Paul Kelly, as a
boob bush leaguer breaking into big company. There is
a delightfully done bit, of a real-estate shark at work
upon the boobery, by an unnamed comedian. The man-
ager is well played by J. W. Johnston, an actor capable
of far better roles than this.
Norma Talmadge and Ronald Colman in "Kiki
Norma Talmadge's Kiki
D rob ably Norma Talmadge's screen version of the
A Andre Picard's comedy, "Kiki," will be highly popu-
lar. We had difficulty getting into the huge Capitol
Theater in New York to view
it. Furthermore, the observ-
ers about me gave every evi-
dence of liking the celluloid
"Kiki" immensely.
Unfortunately, when
Lenore Ulric played Kiki,
some seasons ago, we fell cap-
tive to her performance.
Kiki, you know, is a little
gutter gamine who works her
way into the chorus of a
Paris music hall, sets her
queer little cap for the hand-
some manager, and actually
outwits the prima donna who
has him in her train. In fact,
Kiki ends by winning the
manager completely.
Miss Ulric made Kiki, for
all her sordid gamine tricki-
ness, saucy, sparkling and
wholly captivating. Miss Tal-
madge follows the Ulric in-
terpretation in every detail,
even to the costume and the
queer little walk. There the
comparison ends. She sugars
Kiki and sentimentalizes her.
The Ulric verve isn't there.
Still, as we have said, pic-
ture audiences will probably
Frederick James
Smith
Reviews the New-
Photoplays
like Miss Talmadge's Kiki. All of
which can not keep us from thinking
of other players who could have
done so much better with Kiki.
Constance Talmadge, for instance.
In one thing the silverscreen
"Kiki" far surpasses the stage ver-
sion. The footlight "Kiki" cer-
tainly did not have Ronald Colman.
Ami Marc MacDermott does very
well with the role of Baron Rapp.
The direction of Clarence Brown is
adequate, revealing a fine variety of
camera shots. It is workmanlike
but not distinguished.
1926 "Taming of the Shrew"
Uannie Hurst received $50,000 for writing '"Manne-
quin." We dont know how much she got for "The
Untamed Lady," but she owes some of it to Will Shake-
speare, since the story is a modern adaptation of "The
Taming of the Shrew." Yes, this comedy has been
modernized be-
fore.
The only
item of interest
in "The Un-
tamed Lady" is
Gloria Swan-
son. The star
plavs the self-
w i' 1 1 ed St.
Claire Van
Tassel, spoiled
young lady of
wealth. Larry
Gastlen starts
out to break her
spirit and, hav-
i n g accom-
plished this,
marries her.
The comedy
limps along un-
der the direc-
tion of Frank
Tuttle. Nor
does Lawrence
Gray, the over-
praised leading
man, add any-
thing to the
general effect.
Miss Swanson
has a few inter-
esting moments
—and that's all.
Dorothy Mackaill and Conway
Tearle in "The Dancer of Paris''
Harold Lloyd and Jobyna Ralston in "For Heaven's Sake"
"The Dancer of Paris," based upon a story by the
much-talked-about Michael Arlen, is just a carefully de-
vised boob shocker. Altho Arlen has passed from the
center of the spotlight in the literary and stage world, the
remnants of his fame will still carry a screen story or
two to success in the hinterland.
Aden's Boob
Shocker
"The Dancer
of Paris" is
the ornate yarn
of a rich spend-
thrift flapper,
who, upon be-
ing spurned by
a sick English-
man, starts out
to wreak her
vengeance. She
becomes a pro-
fessional dancer
and follows him
about the
world, taunting
him with
her unattain-
able loveliness
which, if we
may believe
Arlen, is "like
the gold dust
that lies on the
floors of the
dungeons of
gaiety." Fur-
thermore, her
laughter is "like
lightning against
a tortured sky."
(Continued on
page 83)
Norma Shearer and Charles
Emmett Mack in "The Devil's
Circus"
51
RASTERS OF THE
By Matthew Josephson
" A FTER all, the motion picture is only at the beginning
/A of its greater career. It has its own medium of
motion within pictorial beauty, to which it adds
whatever it can use from literature, painting, dancing,
drama, and, above all, music. But we are still groping,
and we are simply going to take ideas, wherever they
come from and whenever we think we can apply
them. ..."
Thus, King Vidor, one of our most talented and far-
sighted directors. At which the writer conceived the
somewhat ambitious design of setting forth thru a longish
ramble over the ground of the past and present "master-
pieces" of the cinema, trusting that by means of a fair
and reasonable analysis of them, a sifting to the bottom
of their actual accomplishments, some light might be
thrown on what the movies have gone thru and where
they are going.
What Are Masterpieces?
I et us consider the great films of the past as explora-
tions in an unknown land. We are looking at them
only from the point of view of the more or less sensitive
animal who sits in the darkened theater peering at the
dancing black and white of the screen. After all, the
powers that be in the movies are concerned with what
happens in the brain of him who consumes their millions
of feet of reel.
And what is a "masterpiece" of the cinema? Is it not
one of those pictures that is hard to forget, perhaps im-
possible to forget? As to the qualities that force us to
remember them, we shall recognize them better by
examining the pictures we have not been able to forget.
"The Birth of a Nation" is still running somewhere in
the United States ; it must be nearly a decade since it
was made. In some respects, the movies during this time
(and Griffith him-
self) have never
exceeded it.
This picture
marks a period,
when the movies
ceased to be a
form of cheap en-
tertainment,
nickelodeon, a
"joke," a "lot
of photography."
Griffith, the pio-
neer, gave the
world a new shud-
der; that is, a
thrill such as they
could not have got
out of books,
plays, operas. He
had a big enough
mind to deal with
a universal theme,
war and peace, in
a big and serious
way, altho in the
movies. First, he
utilized the ability of the cinema to spread over a large
slice of history and over a vast panorama of events,
armies, men, dramas. To realize graphically the sweep
and power of a story that spread over many years and
many states was a new "effect" that the book which gave
germ to the film never approached. It was a revelation,
and showed that you could do serious pictures on a heroic
scale, and that you could hold a public a whole evening
thru ten or a dozen reels. The handling of groups,
mobs, in order to secure the utmost emphasis on the
action they symbolized ; the composing of these pictures,
some of them so precise that they are of historical value ;
the intelligent direction of the actors, so that they were
deeply convincing and never looked like foolish movie
people — all this marked a great forward step.
Griffith's Film Dramatics
Altho Griffith thru this picture and afterward became a
master of tempo, a wizard at building up everything
to the single concentration point of action, "The Birth of
a Nation" seemed to fall distinctly into two episodes : the
Civil War, and the post-war reconstruction period. The
war period was very loosely put together, and weakened
the structure of the whole film, to my mind, by provid-
ing an anti-climax. But in the second episode Griffith did
some amazing things in the way of film dramatics. He
had three or four stories going on at the same time, all
working to their common climax, in their various ways.
The besieging of the little party of whites in the cabin;
the attempted violation of the girl ; the rising disorder
and debauchery among the blacks ; all are brought to a
happy and just (it is supposed) solution by the tremen-
dous raid of the Klansmen. And as for the Klansmen,
he had created them dramatically by providing in a
logical sequence one scene after another of mounting
horror, calculated
to make revolt and
violence inevitable
for the down-
trodden whites.
Early Chaplin
Comedies
Among the things
we must drag
back out of the
past are the early
Chaplin films.
Chaplin in "A
Dog's Life," "The
Rink," "The
Immigrant," pre-
sented the dance
of life. He was
the greatest dancer
of all ; and in his
pictures, every-
thing danced, his
walking stick, his
splay feet, his
mouth, his mus-
tache, his hands.
Gilliams Service
Scene from a new German film drama based upon the life of
Frederick the Great
52
C7H0TI0N PICTURE
A Critical Discussion of the Screen's Advance
his trousers It was not the minuet, or the old-
fashioned waltz, or even the fox trot It was the rhythm
and balance of an infinite variety of movement! and
•ires, from the wildest shocks and rebounds to the
it delicate twirlings or nuances of his facial muscles.
It was such a mirroring of life as we would rather look
it in the tilin^ than read in a book, or hear in music,
or look at in a painting. In his own style he was a poet
of motion ; and his own energy, his dynamo of a figure
was hurled against a world that was inert and insensitive,
the world of Mack Swains, of policemen, of order and
peace. Sometimes he set everything to dancing about
him. as in "The Immigrant" where we are convulsed by
the backward and forward sliding of the food on the
peerage table. But always he possessed this secret of
skidding, skating, careening thru life at a pace, or
rhythm that created a new laughter, a new happiness, that
we should all have been much poorer not to have had.
Nobody, of course, could ever duplicate the personality
which Chaplin created as well — the Mona Lisa like smile,
a certain wistfulness combined with insolence toward all
the things that are proper and sacred.
Harold Lloyd adopted cunningly all the farcial ma-
chinery Chaplin used, which had really been hatched in
Mack Sennett's studios. Here we have again an uproari-
ous poetry of motion, which is inimitably of the cinema.
It is exquisitely created in the elaborate farces of Lloyd ;
and, characteristically enough, his face is a perfect mask
while his body never stops moving. Lloyd developing
from Chaplin mastered also some of the secrets of tempo.
That is. starting at a given speed, he would work up to
a frenzy of motion in different directions, when until
we were convulsed he would devastate us by a still more
outrageous combination.
One of those German scientists who write books on
the cinema said :
"The reason why
the American come-
dies are so infinitely
superior to Euro-
pean comedies, is
that they realize the
humor of motion,
kinetic farce."
Deaders of The
Motion Picture
Classic will recall
that the tvpical prod-
ucts of 1915-1920
were the old Triangle
society drama, the
cowboy films of
William S. Hart,
and an occasionally
high-minded piece
of work, such as
John Barrymore's
"Dr. Jekyll and Mr.
Hyde," "The
Miracle Man," or
"The Spoilers."
Scene from a new German trick film, "In the Land of Fortune,"
soon to be seen in America
Many of the old thrillers realized the beaut) ol mo
tion Unconsciously, The cowboy pictures mure than the
others. The attraction of B William S. Hart ;i> a <W-
perado fleeing from justice, or as an avenging f<
was that of the primitive animal power in men. which
the cinema could already rive so graphically. It was
wholly Visual. As to the literary content of these old
thrillers, those of us who still can. sometimes brash
over it. But if they could be revived, and the titles r<
written by such wits as Marc Connelly and I >■
Kaufman, I imagine that they might reveal a native and
ingenuous charm all their own.
"The Spoilers," based on Rex Beach's novel, and again
exceeding the literary work, had one of those herculean
struggles that we are glad enough to witness from a
seat. But the fight was perfectly logical, in the film at
any rate. Moreover, the villain in this case had a per
fectly sound chance of getting away with the hero's gold
mine, in view of his power and the lawlessness that pre
vailed in Alaska.
The same sense of a struggle on a heroic scale is found
in "The Miracle Man," altho in this case the hero, played
by Thomas Meighan at his very best, seems to be in
opposition to a supernatural force, spiritual faith.
"Dr. Jekyll and Mr. Hyde," belonging to approximately
this same period which ended five years ago, was a piece
of serious film-drama, seriously conceived, intelligently
directed by John Robertson and cast, so that everyone
played with great skill and sincerity. However, we seem
now to have gone very far from even the acting of John
Barrymore, which completely lacked that "movie-way"
that the stars have now.
None of the three films just mentioned overcomes the
handicap which exists in our minds now as a result of
the tremendous strides made in camera technique. None
of them is equal to
modern pictures in
the firm, clear
beauty of their
cinema composi-
tions.
It is impossible to
have seen every-
thing; life is too
short for that. Al-
tho it is now
possible to revive
nearly everything,
thanks to the en-
lightened Film
Guild. We can re-
call enough from
the already dim past
of the movies to
feel that the early-
work realized a tiny
part of the broad
medium which the
cinema offers. They
kept things moving
before our eyes, in
(Con. on page 72 1
53
Nealson Smith
We
SHEIK
Returns
With the big Fairbanks-Pickford lot trans
formed into a sandy stretch of the Sahara,
Rudolph Valentino has been at work upon his
"Son of the Sheik" for some time.
"Son of the Sheik" is E. M. Hull's attempt to
duplicate her best-selling shocker of several years
ago. The film version, bad as it was, helped to
lift Rudy to his meteoric popularity.
Will "Son of the Sheik" turn the trick of
denting the box-office for Valentino? We shall
see. Anyway, Rudy will have the glamourous
assistance of Vilma Banky, who has been termed
the Hungarian rhapsody. And the superb direc-
torial aid of George Fitzmaurice.
54
r»S0
The Off-Stage Laugh
The Part Played by Mrs. Raymond Hatton
in Her Husband's Career
By GLENN CHAFFIN
THE thing began when the Hattons
were youngsters together "on the
road." They had been married
only a short time, but had already
missed a few meals together. They
played a different show and a different
town every week. Sometimes the
changes were more often than that.
Pay envelopes were at a premium.
One night when Raymond was doing
a comedy bit in a play his humor failed
to create more than a mild ripple of
enthusiasm from the Middle-Western
audience. He had gone without dinner
and he felt more like playing for tears
than laughs.
Suddenly from the wings off stage
he heard the half-hushed laugh of a
girl. A laugh subdued, but in-
toxicating.
Its effect on the
comedian was electric.
He told me the other
night that it was
as cheering as tho
somebody had
tossed him a ham
sandwich, or a
five-dollar bill.
"That's a left-
handed tribute to
Frances," he added,
"but you see in those
days we got most of
our inspiration from
lunch counter. It's
right for the philosophers to
parade the theory that genius is born of want, but it's
hard to act funny when the thing you want is a square
meal.
Then Frances Laughed
" J glanced off stage and there stood Frances, laughing
to beat the band. I dont know yet just what my re-
action was, but in a few minutes I had everybody in the
house roaring. Say, neighbor, I swaggered off that stage
with the world at my feet. And, no joking, I could have
taken bows out there for an hour."
Aside from the fact that I spent a great many of my
Raymond and Frances
Hatton have been mar-
ried for years, since
they played together in
road shows. Now she
does her bit out of
sight of the camera
week-ends last summer as the
guest of the Hattons and
Milt Howe, who have adjoin-
ing beach cabins near Santa
Barbara, I have never actual-
ly been a neighbor of Ray's.
But it is a term that he uses
frequently to his friends and
he has a way of saying it that
makes you feel as tho you'd
fought Indians with him. Or
homesteaded by his side in
the great open spaces. The
kind of fellow you feel that
you can ask for a free meal
without losing his friendship.
The idea for this expose of
the Hatton professional alli-
ance originated in an incident
which occurred on a stage at
the Famous Players-Lasky
studio in Hollywood a short
time ago. Ray was playing a
scene with Mary Brian in
"Behind the Front," a war
comedy in which Hatton and
Wallace Beery clown their
way thru barbed wire en-
tanglements, shell holes and
what-not.
Evans
"Behind the Front"
Crances and I were stand-
ing off stage watching Ray
fill his coat sleeves full of silverware. The thing was
funny, but at first I confined my enjoyment to a grin,
figuring that my cue was to be neither seen nor heard
while there was action in the air.
Not so Mrs. Hatton. She laughed outright and
heartily. The camera was grinding away and I made the
faux pas of my young life by trying to "shush" her.
She looked at me in amazement.
"Dont shush me, silly. I'm doing this for Raymond's
benefit. This is my contribution to his art. I'm the
'off-stage laugh that you hear so much about in the
'speakies' realm."
Just as soon as the scene was finished, Ray came over
to where we were standing.
{Continued on page 81)
55
All's
FAIR
in
Love
By Mary B.
Chapman
Melbourne Spurr
At fifteen Elinor Fair made her debut as the little cripple girl in
"The Miracle Man." Remember that touching performance?
THERE is much controversy in Hollywood — and elsewhere —
concerning careers versus matrimony, and many and varied are
the opinions advanced on the subject.
But there is one girl in town who found the passport to success in
both lines handed to her because a director spent one spare hour in a
certain picture house.
% The girl is Elinor Fair, the director is Cecil B. De Mille, and the
p'icture was one starring Buck Jones and with scenes laid in a Western
lumber camp.
Found by De Mille
/~)nce during the picture, Elinor in a sudden 'flare of mimic
temper slapped Buck Jones
in the face ; at another time, she
opened a door, smiling, and be-
fore she had closed it her ex-
pression had changed from joy
to bitter tragedy. Mr. De Mille
observed and made mental
note at nine o'clock one eve-
ning.
At ten next morning, the
brown-eyed Elinor was in-
formed over the telephone that
Mr. Goodstadt, casting direc-
tor for De Mille productions,
wished to see her.
56
Elinor Fair as the princess in Cecil
De Mille's new production, "The
Volga Boatman"
*-**.•
How Elinor Fair
Met and Married
Bill Boyd
"I thought he wanted to see me about
a lead with Rod La Rocque," said
Elinor, dimples dancing in the rose. of
her cheeks, "but instead he took me up
tu Mr. De Mille's office, and 1 learned 1
wts In-iti}; considered for the part of the
princess in 'The Volga Boatman.'
"No, 1 wasn't nervous. I've never
a afraid to meet anyone. I believe 1
could go and talk to the president and
feel no more impressed than if I were
conversing with the Moorman of the
stiulio.
"Sign Her Up!"
"Mk. De Mii.i.k told me the story of. the
picture, asked me a few questions
ahout work, and then we discussed
foreign countries and men, women and
dogs. At the end of half an hour, he
called Mr. Goodstadt and said: 'Take
William David l\
your girl down-stairs and sign her up,' and that's all
there was to it."
It was her work in this picture that caused Mr. De
Mille to give her a contract calling for featured roles.
But the most important development of her signature on
the dotted line, according to Elinor herself, was the ac-
quiring of a bridegroom.
Shortly after the name "Elinor Fair" had been ap-
pended to the paper on Mr. Goodstadt's desk, the owner
of it was given a screen test for hair-dressing and
costume.
As she stepped up on the set, she noticed a tall, fair
youth standing near the camera, doing nothing in par-
ticular.
"Miss Fair, let me present Mr. William Boyd."
mumbled the director of the test, and in the same breath
began to explam the action of the scene.
At the left, Elinor Fair in a scene of "The
Volga Boatman" with William Boyd. Two
months and four days after she met Bill, the
two were married
The two young people looked at one another
briefly, bowed, and walked awray — one to her
place before the Kleigs, the other — but where Bill Boyd
went. Elinor doesn't know, for she was so little inter-
ested that she failed to notice wffiether or not he was still
on the set when the test was over.
Meets Bill Boyd
Co much for love at first sight.
They met again when Mr. De Mille read the story
to the cast, and a week later found them together on
location near Sacramento.
"We played around with each other, as leading players
of a picture always do," admitted Elinor, "hut until the
last day of our stay there was no more to it. Then — it
happened."
What "it" was is to be interpreted by those who have
been in love.
*AYe were to leave that day. and Mr. De Mille hoped
to make one last shot of me by the river, so I had m\
make-up and costume on, while Bill was in civilian
clothes ready to go home. We were waiting for the sun
to come out, you see, so we sat on the barge by the river
with the clouds hanging low and a chill wind blowing.
(Continued on page 78)
57
International Newsreel
Clara Bow again is reported engaged. This time to Gilbert
Roland, a film player of some prominence. The wedding date
is still unnamed
Pacific & Atlantic
Mr. and Mrs. Buck Jones drop in to call
upon Will Hays before sailing for Europe. Both
Will and Buck spent their boyhood in Indiana
Letters to King Dodo
Hollywood.
Dear Majesty:
ONE of the strangest phenomena of Hollywood is
the Writers' Gub of the Screen Writers' Guild of
the Authors' League of America. -I hope to have
the pleasure of conducting Your Majesty to dine there
incognito when you visit this country. The busy writers
do not frequent the club by day, but in the cool of the
evening they come down to feed on the tender asparagus
tips and the young squabs provided under the careful
management of Major Hughes, Our President.
Here Your Majesty will observe a discreet nook,
reserved for the celluloid samurai, palpitant with well-
bred interest. A Maker of Stars is revealing to a chosen
few the secret of her success. Voluminous in a batiked
frock that encloses her as in the nimbus of an ample
sunset cloud, she rolls her eyes expressively.
"I take no credit to myself. I realize that my hand
is guided by the souls of generations long since
departed !"
The table stiffens, gaping.
"Well do I remember those wonderful nights on the
Nile!"
She sighs voluptuously.
"I was his mother in that incarnation. But I wronged
him."
The table buzzes with respectful comment.
"And listen ! I take no credit for my wonderful
screen stories. They are all written for me. I go to
bed at night and promptly at 4 A. M. the subconscious
mind — heritage of generations of the best brains of all
lands — begins to work for me. When I wake up, the
story has been completed."
The table twitters its appreciation.
"But this gift of recalling the past so vividly has its
drawbacks."
58
She looks coyly sidewise.
"Just the other day on the set a tall, dark, East Indian
gentleman stepped up to me. He looked me right in the
eye and in a deep, magnetic voice he said, as he held my
hand : 'Do you remember that night in Babylon four
thousand years ago ?'
"I was so embarrassed !"
New York.
Dear King:
Pjoubtless, you are interested in knowing about Alastair
Mackintosh, who married your favorite, Constance
Talmadge. The Hon. Alastair departed from California
shortly after the wedding, sojourning in Palm Beach and
other Florida points for a time. Thus Connie spent part
of her honeymoon alone.
My spies report to me that the Hon. Alastair is a
personal friend of the Prince of Wales and a former
captain in the Seaforth Highlanders. He is a member
of the prominent Inverness family and was at one time
equerry to Princess Beatrice. Later he acted as A. D. C.
to the governor of Bombay.
Still, that doesn't explain to your highness, I know,
how a bridegroom could ramble off to Palm Beach,
leaving the fair Connie behind.
Hollywood.
Dear Majesty :
Jean Hersholt told me the other day that he hopes to
be able to work with Erich Von Stroheim and also to
play "The Return of Peter Grimm" for Fox. If he per-
forms this feat, Fox will have to hurry Peter's return to
enable Jean to begin with Von the next month.
The sudden but determined rise of jean Hersholt will
interest Your Majesty, because it was not an accident as
most movie careers happen to be, but was actually
irnulioiul Xewtrtcl
Laura La Plante and Hedda Hopper come to
New York for a brief visit. The CLASSIC
cameraman met them at Grand Central Station
The dangerous difficulties of being a cameraman. John Boyle,
from Director Lambert Hillyer's car, films a race at thirty-five
miles an hour
By Don Ryan and Frederick James Smith
engineered by the climber, who used business methods on
the business men who make the pictures. His salary is
now something scandalous.
Hersholt had been a small-fry director for years. He
played the villain with Mary Pickford in "Tess of the
Storm Country." The shrewd eyes of Von Stroheim
noticed him and gave him the part of Martin Schuler in
"Greed." Hersholt scored and was promptly deluged
with demands that he play the identical character in
other pictures — this is the system when an actor makes
a hit in a certain part.
But Jean was not to be caught in this vicious system.
He managed to slip in some characterizations that were
not Martin Schuler1 s but were equally good ones. And
his last impersonation, that of The Old Soak, places him
definitely as the first character actor of the screen. I am
excepting Lon Chaney, whose genius lies in the direction
of eccentric characterizations.
"It's a joke," laughed Hersholt, telling me about his
sensational arrival.
"If I had suggested playing a Warfield role a few
years ago, the producers would have laughed at me.
Yesterday I found myself up against this situation. Von
wants me to be co-starred in 'The Wedding March.'
Fox wants me to play 'The Return of Peter Grimm.'
Lasky wants me for 'The Rough Rider,' a story about
Roosevelt — all at the same time."
If necessary, Jean will choose to go with Von Stroheim,
the director who really made him, and sacrifice the other
parts. His part in "The Wedding March" is a butcher,
the rival of the aristocratic militarist to be played by Von
himself.
"In The Old Soak,' " said Jean, with the remnants
of a Danish accent, "I had to laugh. They were afraid
to keep the ending of Don Marquis' play because the
play was a flop in the middle of America where the senti-
ment is dry. So they added a scene to the picture in
which the old man repents and sits there crying — smash-
ing all his whisky bottles! It may satisfy the censors,
but the old soak would never have done that in real life."
Xew York.
Y'our Highness :
VOUR telegram for further facts about Lya de Putti
was. acted upon at once. Lya, as you know has re-
covered from her operation and is working in the Grif-
fith effort, "The Sorrows of Satan." My spy Xo. 47,
located in Berlin, tells me that Lya's real name isn't
de Putti, after all. It's Amalia Janke. She was at work
at the Ufa studios when she signed up with Famous
Players. She finished the film on a Saturday, where-
upon she boarded a train without informing anyone.
Various claims as to debts were advanced immediately.
These claims amounted to eighty thousand gold marks.
One of the creditors complained to the police and Lya
was held up at Cologne. She was allowed to continue,
however, after depositing five thousand gold mark-.
Other alleged creditors appeared, but Lya was across
the border. Her motor car and other valuables left
behind in Berlin were seized. For a time it seemed that
Lya might not sail to these shores. Finally, some sort
of arrangement was made and Lya departed.
The fair Lya is reported to be getting $1,000 a week
at Famous.
Hollywood.
Dear Majesty:
In my last epistle I had the honor to comment to Y'our
Majesty upon the bizarre practice in moviedom of
altering the intention of a play in order to escape censor-
ship. Better not make it, at all, you would think — but the
producers believe they must have the play for its name.
69
CLASSIC
- .
Buster Keaton gets encouragement during the filming of
the comedy, "Battling Butler," from Mickey Walker,
welterweight champion
Alice Lloyd, the English comedian, calls upon
Charlie Chaplin. Years ago they played on the
same bills in the English music-halls
The Puritan thread which runs thru American life is
evidently just as tough as it was in the days of the Salem
witchcraft. There always has been, of course, plenty of
opposition. But Your Majesty could never guess the
quarter from which the latest anti-Puritan propaganda is
coming. Lillian Gish is making "The Scarlet Letter"
into a picture for Metro-Goldwyn-Mayer, acting on her
own initiative. Her own ancestors were New England
roundheads and she always wished to reproduce Haw-
thorne's masterpiece as a movie.
Securely hidden behind a tall "nigger," I watched the
frail Lillian making a scene for the picture — the scene
in which Hester Prynne meets her husband after she has
been decorated with the letter of shame. I never saw so
much pains being taken with any scene — and I have
watched Von Stroheim at work again and again. Lillian
was rehearsing her own scene apparently without any
direction from Victor Seastrom, who was just sitting on
the side-lines.
But the most pains were being taken with the lights.
The lights were the invention of Lillian's own camera
wizard, the former Herr Professor Hendrik Sartov, of
Rotterdam. This physicist, weaned from his university,
but not from his long pipe and flowing tie, was putting
one band of light over Lillian's eyes while with another
arrangement he was getting rid of her cheek-bones. He
is undoubtedly a monumental asset.
Lillian and her friends are going to make "The Scarlet
Letter" without softening the hard Puritan character, I
was told. It will be a lesson for the long-hairs of today,
the same lesson that Griffith attempted to convey in "In-
tolerance" and failed magnificently in the doing.
This picture begins to look like another big success for
Metro-Goldwyn-Mayer ; and with such a bright young
man as Joseph Hergesheimer for her press-agent, I see a
bright future for Lillian.
Hollywood.
Dear Majesty:
John Gilbert is being fitted at the Western Costume
Company for the trunk-hose, the doublets, the velvets
and laces and armor he will wear as the hero of a piece
the title of which, when he pronounced it for me,
sounded like a savory sauce: "Bordelaise, the Magnifi-
cent," or something of the sort — by Rafael Sabatini, the
modern romancer of the Middle Ages.
I am inclined to agree with the opinion, expressed after
viewing "The Big Parade" at Your Majesty's theater in
Oz, that Jack Gilbert eclipses in sheer histrionics, any
leading man who heretofore has graced the celluloid
drama. In answer to Your Majesty's question anent the
secret of his outstanding superiority, it seems to me that
Jack possesses all the qualities of the others with the
addition of a more subtle personality. He is of a finer
grain. His acting never jars. Watching Gilbert gives
the same satisfaction as riding in a perfect foreign-built
motor-car.
It is almost impossible to believe that the drab and
wrinkled extra whom I encountered the other day wait-
ing for some scrap to be thrown from the casting window
at the Fox Studio could be Jack Gilbert's father. Yet
such is his claim, and Jack himself does not attempt to
deny it. The son sends a monthly check, but he does not
wish any closer contact with the man who says he is his
father.
"He didn't show himself till I was on top," said Jack.
"When I needed a father, he wasn't there. To save my
neck I cannot feel any affection for this man who is a
stranger to me."
Physically, there is no resemblance between the mouse-
colored old stock actor, whose name is John Pringle, and
the dark, vivid, romantic-looking Gilbert, who resembles
his mother. She was Ida Adair, once a favorite on
Broadway — a flower that quickly withered and died in
the hectic glare of the calciums. As a boy, Jack knew
little of either parent. He was indeed a Dazid Copper-
field of the stage.
Hollywood.
Dear Majesty :
Here is one of the odds and ends of movie life which
n may afford Your Majesty some amusement. Three
years ago a girl named Gladys McConnell graduated
from Hollywood High School and tried to break into
pictures. For weeks she haunted Fred Datig's ante-
chamber at Universal City — without any result.
60
Syd Chaplin demonstrates the only safe
way to be a cowboy. However, this
pony isn't so good in a stampede
Greta Garbo helps Lew Cody make up as Othello for an episode
of "Toto," being filmed at Metro-Goldwyn. Would you
recognize Lew? We wouldn't
It happened then that her sister Hazel, a leading
woman in West Coast stock theaters, took a six-hundred-
test of herself to show to Datig. In the last scene
Gladys, the sister, appeared as a maid, handing a wrap
to the aspiring screen actress. After the test Datig said
to Hazel :
"I dont think we can use you but — who was that girl
who appeared in the last scene?"
"My sister," replied Hazel.
"Send her out." said the Universal official, and the
girl who had given up hope of ever getting a job, was
placed under contract.
Gladys has been playing leads for Hal Roach. She
recently signed a five-year contract with Fox. What hap-
pened to Hazel ? Oh, she got married.
Hollywood.
Dear Majesty :
There was a time when Hollywood looked with some
contempt upon the comedy producer. Comedies were
still fill-ins. However, a new comedy era threatens to
make the bathing-girl motif an antique, according to
plans that are blooming at Hal Roach's plant. Roach
possesses in Katherine Grant, Martha Sleeper, Glenn
Tyron and othtrs some very possible feature material.
Whereas they were merely comedians yesterday, they
have now become factors worthy of more than passing
consideration. For under the new regime, Hal Roach
has inaugurated a series of all-star comedies in which
such personages as Virginia Pearson, Eva Novak and
Lionel Barrymore have already appeared. The astute
producer recently signed Ethel Clayton and will, no doubt,
close his negotiations with Irene Bordoni to come West
and make a two-reel comedy.
It may soon be possible for the big studios to farm out
their contract players to Roach, and there are few com-
panies that will not seize this opportunity to let the
comedy producer pay for their players' idle hours. The
actors realize that it is a means of getting a greater num-
ber of film appearances, and while comedies are comedies,
business is business.
Before long we may see Norma Shearer. Jack Gilbert,
Madge Bellamy, Leatrice Joy, Belle Bennett, Francis X.
Bushman, even John Barrymore, engaging in the idle-
hour game.
Why not? Many of Mack Sennett's comedies are
better than the heavy dramas they burlesque.
New York.
Dear Rex :
[ know your highness will be amused at the way an
executive of a big New York newspaper whipped a
certain motion picture company into line.
A former member of this paper's editorial staff had
been a scenarist in Hollywood. The company advanced
the writer to the post of director. In the course of
events something happened. The writer-director, on
location, was relieved of his post and ordered back to
the studio. Someone in power hadn't taken a fancy to
him, it seems.
Back at the studio, the writer-director resigned. By
chance he told his story to the executive of his old news-
paper, who happened to be visiting in Los Angeles. The
executive dropped around to see the president of the
film company, also in town. He intimated that the whole
thing was unethical, and that the writer ought to be paid
the full amount of his contract. The film president
stalled — but the executive was obdurate. Finally, the
writer-director was paid in full.
Unfortunately, your highness, few screen workers have
powerful friends. If they did, there would be fewer
dirty tricks pulled in what we pleasantly term the fifth
great industry.
Hollywood.
Dear Majesty :
My friend Carey Wilson has never ceased to talk about
the halcyon days when the "Ben-Hur" company was
spending Marcus Loew's money so gaily in that dear
Italy.
It has been nearly a year now since Carey was resur-
rected from an ancient Roman tomb. Carey, who is a
professional scenario writer — but that should not be laid
too heavily against him — still delights to tell about the
Bragaglia Cafe.
(Continued on page 84)
61
Filming "Beau Geste"
(Continued from page 26)
picture, as we
watched the lower-
ing of the colors
at sundown — two
Americans folding
the Stars and
Stripes, two Eng-
lishmen folding the
Union Jack, and
two Frenchmen
the flag of France.
A Cast of
Veterans
IV/Iost of the cast
are veterans of
the World War
and take to soldier-
ing naturally.
Victor McLag-
len, Hank of the
picture, was cap-
tain of police in the
city of Bagdad, and
has dealt with the
children of the des-
ert first hand.
"Killing a white
man brings an
Arab nearer his
heaven," he ex-.
plained, his eyes
on the long line of
mounted Arabs,
whose flowing
robes and giant
shields no longer
terrified their
trained steeds.
Training the
horses to bear such
garbed and yelling
riders was part of
the task of Jack
Moore, in charge
of all stock used
in the picture. His
was also the feat
of "breaking" the
150 mules ridden
by' the Senegalese
troops, bringing them within two weeks
from the status of wild mules on the range
to army steeds working in formation.
It was the war that put Victor McLag-
len in close sympathy with Herbert Brenon
on the making of "Beau Geste." Victor
is one of eight brothers all over six feet
tall, and England's declaration of war
brought all of them home from various
parts of the world to enlist.
Fred was Victor's elder and favorite
brother.
"He used to be always talking about
'my young brother Vic,' " remembered Vic-
tor, "and people would expect to meet a
youngster about thirteen. Then I'd come
in — bigger than the side of a house! Well,
anyway, when I left home the first time,
I was seventeen and Fred took rne to the
boat. . . .
"I met him, when we gathered to en-
list, on a corner in Piccadilly. 'Leaving
tomorrow for Mesopotamia!' he greeted
me, and presently : T say, do you remem-
ber how I took you to the boat when you
first went away? I'd like you to do the
same for me tomorrow, Vic. That will
be our last good-bye.'
"I was horrified. 'Oh, you'll come back,
old man !' I assured him. He shook his
head. . , . He was right. He never
did come back."
There are brothers of the blood — and
there are brothers of the heart. Of the
latter are Ronald Colman and William
Alice Tildesley on
Paul McAllister,
Tildesley, Norman
location with the "Beau Geste" company. Left to right:
William Powell, Noah Beery, Victor McLaglen, Miss
Trevor, Director Brenon, Ronald Colman and Neil Hamilton
Powell, who share a tent on "Beau Geste
Square." (The twenty-five streets in camp
are named for the various pictures made
by Director Brenon.)
Not since the filming of "Romola," when
the two spent an idyllic year together in
Italy, have they appeared in the same
cast.
There is a certain tender memory be-
longing to these two concerning a table at
a sidewalk cafe — a table always reserved
for them. It was here they sat on their
last day in Italy, under the budding green
of an April now two years past. Ronald
was called back to New York, William
was headed for the North.
"When shall we two meet again?" was
the burden of their thoughts.
"Beau Geste" is the answer.
Wherever Noah Beery goes, the records
of Tito Schipa, that brother of his heart,
go also. When the terrible Lejaune of the
picture rests in the shade of his tent, the
golden voice of the tenor is heard. And
so wherever Tito Schipa travels, the first
thing he does on arrival in a town is to
scan the theatrical bill of fare and choose
one of Noah's pictures. . . .
Norman Trevor, Beaujolais of the story,
was born in India ; when he was grown
he visited Morocco and saw the Foreign
Legion in its desert forts.
"The only difference between our lo-
cation here and the country there," he
observed, "is tfo
color of the sand
Ours is a rich gok
— theirs is paler
But in the dawn 01
at sunset you not(
the same effects. A
sunrise the dune;
take on a rosy tint
with a faint blue
in the shadows; al
the close of day
they are a strange
Nile green, deepen-
ing to purple."
Difference in
Deserts
A nother differ-
ence in deserts
was pointed out by
Paul McAllister
(St. Andre)— the
trail of a bobcat
over the hills !
"You can dig
down in our desert
and strike water —
so men and animals
lost on it can live,"
explained Mr. Tre-
vor, "but in Africa,
except in an oasis,
you would dig in
vain."
One of the laws
of the Foreign Le-
gion is that when
something is stolen
the man from
whom it is stolen
is punished instead
of the thief.
"I have watched
a legionnaire wasli
his hands," said
Mr. Trevor. "Xot
daring to lay down
his soap, he holds
it in his mouth. An
article of clothing
he is not wearing is securely fastened to
a board. If by chance someone gets his
belt or button, he promptly steals from
another."
But we need not depend on second-hand
tales on this location, for Leo Sleeman is
a seven years' veteran of the real Foreign
Legion and carries with him his "Livre
de la Legion Etrangere."
The little book contains the "thou shalt
nots" of the legion and the grim word
"Mort" follows twenty-six of the com-
mandments.
Three medals of the legion decorate the
breast of this genuine legionnaire, but one
of his hands is minus a finger.
"Arab," he explained, to the listening
group lounging in the oasis beyond the
fort. "I am smoking the cigaret in the
night outside the walls. I have come off
from sentry-go. I take the cigaret from
my lips and hold it out — so — while I blow
forth the smoke. Ping ! An Arab sharp-
shooter from the great dark aims at the
light and gets my finger."
And once, when Sleeman was guard on
duty in the barrack room, a fellow soldier
got "le cafard," drank too deeply, and in
a drunken rage killed a comrade.
The commandant of the fort called the
clerk, had him read above the unconscious
form of the murderer, who had slumped
down over a table in a stupor, the legion
rule pertaining to his offense — one of those
(Continued on page 73)
62
Tents in Canaan
(Continued from page V> I
rkshop — a home — by Gadl He seeks ■ reference
mething. We rise and follow him into Ins bedroom
where Jack has a few immediate books. His library lias
ft\ arrived.
The door turns at the clutch of a great black key three
feet long, duplicated from the product of a sixteenth-
century workshop. The books are in a small rack at the
foot of the bed, a massive four-poster, heavily hung in rose
brocade. The books Jack has just been reading — "Arrow-
stuith." "The World's Illu-
sion'," "Haunch, Paunch and
fowl," "Husbands and Lovers,"
Sadakichi Hartmann's mad
"( untucius."
Yes, presented by the author.
The old satyr had presented me
likewise, then called and carried
away two books written and
presented by Ben DeCasseres.
There is a method in his mad-
ness, for he played on Jack the
same trick.
Typical of Gilbert
Jack belongs — in this house
of neo-Spanish feeling. His
brown, liquid eyes, his hair
with the oily gloss of a raven's
back, definitely place him here.
One lock of long hair is falling
carelessly down his forehead,
curling like a dark, lively vine
— a graveyard vine, somber
with youth matured before its
time. For Gilbert, a poet at
heart, an actor by the gift of a
great power of feeling, has a
mottled groundwork of back-
stage life instead of a boydiood.
He benefited in that he grew
up an unconscious philosopher.
It is give and take with Jack,
in that elegant casualness which,
the world over, betokens a
gentleman aware.
Casually talking, we stroll
thru Jack's rooms, joking
about his saints and virgins
which adorn ceiling and niche.
Jack's bathroom is what an
ancient Roman would have done
with modern plumbing.
Nobody except Jack Gilbert,
who doesn't give a damn what
the lady fan writers write, could get away with his break-
fast-room— canary yellow, with a window full of yellow
canaries. Out in his garden, up a pathway, is the water-
fall and Jack's beloved fish. At hand, an athletic diversion
— a new Hollywood perversion — a court for the game
called Dougledyas, invented by the inimitable Fairbanks.
A big swimming-pool with its miniature beach of shingle
and dressing-rooms labeled Senoritas, Caballeros.
Casually talking about women, a plaything of which
we have grown sufficiently contemptuous, but, unwilling
to abandon it, continue to experiment with new color series.
Agreeing that light browns are most desirable but arguing
about which browns, Jack extolling the Plantation enter-
tainers of the Great White Way while I am all for Creole
Carolynne's gals of the local Cotton Club.
Pola and the Borgia atmosphere of her
home
Out at the gate, poised on the ledge, from which, if he
felt temperamental, the star could hurl empty bottles down
on the mansion of his director, King Vidoi fully
(lumbering beneath him. And so along the steep Tower
Road descending toward the scattered settlements.
Evening. The white Spanish house cool without and
dark within, touched by fulgurous streaks in rich tapestries
and occasional glints of steel. Repose. Meditation. And
B hiur of melancholy.
The Ray Home
I F early evening is the time to
visit Gilbert^ house, then
early morning is the only pos-
sible hour to invade the Eng-
lish cottage inhabited by Mr.
and Mrs. Charles Ray.
It stands down on the level,
still in Beverly, but actually on
Sunset Boulevard. The rubber-
neck busses ploughing by merely
slow up while the distant voice
of the megaphone shouter is
wafted over the hedge to those
within.
Ray's garden is the dream of
a nostalgic Anglo-Saxon made
to come true as nearly as pos-
sible in the unfitting, semitropic
flora of Southern California.
Hedges and fountains and
velvet turf. A swimming-pool
like a four-leaf clover, designed
by Charley himself.
Mjs. Hemans would have
loved his place. Of Charley's
place we can repeat reverently
the original of the parody with
which I led this story :
The stately homes of England,
How beautiful they stand!
Amidst their tall, ancestral trees
O'er all the smiling land.
An English maid in stiff
white peers thru the wicket.
Charley comes down — in carpet
slippers and flowered bath-robe,
with his thin tenor voice which
seems to fit the drawing-room
admirably. It is the same voice
as that possessed by his marvel-
ous glass clock, a bower of thin-
spun fragile posies in which a
pair of shepherd lovers nest.
The clock speaks the early hour of nine in its thin,
melodious voice. Light, light, pale, fair, English rooms.
Cupids and dolphins, filigree. A priceless fan of
Watteau's in a glass case. Even the piano painted after
the style of Louis Quinze with one of the absurd scenes
in which lords and ladies play at being shepherds and
shepherdesses.
There are a few books scattered neatly about. Most
of them relate to the theater. Charley takes his work
seriously. There are no books about movies. There is
a copy of The House Beautiful and Theatre Magazine,
which, I recall bitterly, still owes me for that story on
Hollywood that Papa Hornblow printed in 1924. The
{Continued on page 82)
The Answer
Man
Just, Canton. — Dolores Costello's
first starring picture for Warner
will be an adaptation of Winston
Churchill's "The Crisis." I say
little, but I think more. A flow of
words is no proof of wisdom.
K. A. Med. — You say, if I am a
bachelor, I must be a singular man.
Quite right. I have never mar-
ried. You see, I didn't want to
marry when I was young, and when I got old, no one wanted to
marry me. Madge Evans has gone to Europe to travel and study.
Her last picture was "Classmates."
Mary L. P. — Thanks for the drawings. So you really dont
think I am an old man of some eighty years. You'll have to take
my word, Mary. Buster Keaton in "The Engine Driver."
Pat, Detroit. — So you are going to California. Are you going
to Ford it? Yes, I would like to have one of your kittens, but
where could I keep it, here in my hall-room? Then I would have
to get milk instead of buttermilk. Why, Mae Murray is playing
in "Altars of Desire," directed by Christy Cabanne.
Mary S. — I have stopped at the Plaza, Havana. Couldn't afford
the Sevilla-Biltmore. Yes, Lon Chaney is married. Baby Peggy
is playing in "April Fool."
Grant K. — Never mind the business outlook. Be on the look-
out for business. I cant give you Clara Bow's home address,
but you can reach her at Famous Players-Lasky, 1520 Vine Street,
Los Angeles, California. Gertrude Short and Creighton Hale in
"A Poor Girl's Romance." See you later.
Bill, U. S. N. — Heave ho, my lads, heave ho. Wait until you
see "The Black Pirate." It certainly is thrilling, and Doug is
marvelous in it. Mary Astor at First National, 5341 Melrose
Avenue, Los Angeles, California. Maria Eugenia Reachi is the
daughter of Agnes Ay res, born March 25, 1926.
Neil. — I should say you are ambitious. Keep it up. Ambition
is an appetite never satisfied, a spur that never spares us. You
know that courtship is a bow-knot that matrimony pulls into a
hard knot. Renee Adoree does not give her age. Your letter
was a gem, and it had some sparkle.
Sarah K. — See here, what's this. Why is a dog biting his
tail a good manager? Because he makes both ends meet. No,
William Haines is not married. And some men are known by
the company they cant get into.
E. K., N. Y. C. — No, I never get tired. This is the time of the
year I like to take a hike out into the woods. But try and find
the woods around here. Yes, it is true that D. W. Griffith is to
do Theodore Dreiser's "An American Tragedy" for Famous
Players-Lasky, with Glenn Hunter in the lead. Famous will
guarantee Dreiser that the book will be filmed exactly as it was
written. Write Richard Dix direct.
Slippery Sue. — Put on your brakes. You're skidding. William
Boyd is married to Elinor Fair. You know they met while
playing together in "The Volga Boatman" and were married
about six weeks after. Harry Pollard directed "The Cohens &
Kellys."
De W. — No. Edwin Carewe and Arthur Edmund Carewe are
not one and the same person. The former is a director. Roy
D'Arcy doesn't give his age. Lou Tellegen was born in Greece.
Harold Lloyd's next picture will be laid in the Kentucky hills.
We'll probably see some stills.
Betty S. — Your joke was like the little boy who asked his
father if the 2*ebra was a black animal with white stripes or a
white animal with black stripes. What is that which is put on
the table and cut, but never eaten? A pack of cards. That's
splenderiferous. So you want a picture of Irene Rich and Aileen
THE ANSWER MAN is at your service. If you
want an answer by mail, enclose a stamped addressed
envelope. If you wish the answer to appear in THE
CLASSIC, write at the top of your letter the name
you want printed, and at the bottom your full name
and address. Address: The Answer Man, Motion
Picture Classic, 176 Dumeld Street, Brooklyn, N. Y.
Pringle in The Classic soon. You
also want to know what salutation
to be used when writing to Rin-Tin-
Tin. Well, you can address him
"Dear Sir" and he wont know the
difference.
Gloria. — Noah Beery is an old-
timer, having made his first screen
appearance some fifteen years ago,
and he got five dollars a day for
He now gets more than that an hour. Yes, George O'Brien
the lead in "The Iron Horse." Esther Ralston in "Old
it.
had
Ironsides."
Hamilton W
has played in :
W. — Here is a list of pictures Ramon Novarro
Thy Name is Woman
The Arab
The Midshipman
Ben-Hur
The Lover's Oath
Trifling Women
Prisoner of Zenda
Scaramouche
Where the Pavement Ends
He is playing in a new picture with Sally O'Neil which is untitled.
Cecil S. — I hardly think we will start either Shadowland or
Beauty again. Have you seen a copy of Movie Monthly?
Maurice E. N. — This is for you — during the past year more
than 21,000,000 letters and 803,000 parcels went to the Dead Letter
Office of the post-office because of carelessness in addressing. It
has been estimated by the postal officials that every year more than
100,000 letters are sent thru the mails in perfectly blank envelopes.
During the same period about $55,000 in cash, and about $12,000
in postage stamps, are removed from misdirected envelopes. On
account of misdirected letters, during the course of a year, some
$3,000,000 in checks, drafts and postal money orders never reach
their proper parties. Write to Maurice E. Neel, Route 3, Forrest
City, Arkansas, for the Carol Dempster Club.
W. J. H., Hongkong. — You show good taste in selecting your
favorites. And you think Esther Ralston is more beautiful than
a rose. George O'Hara and Ralph Lewis are playing in "Bigger
Than Barnum." Write me again some time.
Susie. — I dont quite understand.
D. O. M. — Emil Jannings is to play in Paramount's "The Thief
of Dreams," with Betty Bronson and Ricardo Cortez. This will
be his first American screen debut. Dolores Del Rio, one of the
Wampas Baby stars, is playing in "What Price Glory." This is
just the time for buttermilk. I have mine every day.
Foster J. B. — "The Fighting Heart" was adapted from the
novel "Once to Every Man," by Larry Evans.
Alabama Bound. — Why all this demand for birthdays? Birth-
day presents, eh? Colleen Moore's will come off August 12th,
so you will have plenty of time to buy her a diamond necklace,
Rolls-Royce, yacht, castle, or anything like that, but I guess she
would be just as pleased with a rose or a card. She will then
be the ripe old age of twenty-four. You want a cover of
Esther Ralston. No, Jack Gilbert is not married now. See you
later.
N. D. P. — Well, the last time I heard of Kitty Gordon she was
on the stage playing in vaudeville.
Mary L. M. — So you are reducing. You know more than half
the human body is composed of water. Keep up the good work.
Just write to D. W. Griffith at the Paramount Studio, Astoria,
Long Island. Cecil De Mille at Culver City, California.
(Continued on page 71)
64
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65
Milton Brown
The |
Scarlet
Letter
Lillian Gish has just completed
Nathaniel Hawthorne's umance
of Puritan days, "The Scarlet
Letter." Who doesn't remember
the tragic story of Hester Prynne,
doomed to wear a scarlet "A" em-
broidered on her breast as a penalty
for her adultery with her husband's
friend? Miss Gish's Hater should
be an interesting addition to her
gallery of suffering heroines
On this page are three striking moments of "The
Scarlet Letter." At left, Miss Gish with Lars
Hanson, who plays the Puritan clergyman, Arthur
Dimmesdale, who shares Heater's illicit romance
66
i
^Beauty is a ^Matter of^
(Common ^ense and Judgment
IWfUO.
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LETTUCE
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67
Four Writers Condemn the Films
FRANK SWINNERTON
(Continued from page 2A)
always find Charlie doing something you
had never thought of."
That was all I could get out of him at
the time. Later, however, when I spent
the day with him at St. Raphael on the
Riviera, he explained some of his reac-
tions. The surroundings were less trying,
for one thing ; we sat out on a balcony
over the Mediterranean. Instead of the
cold and penetrating London
fog surrounding us, we were
bathed in a warm Riviera
sun over a cigar and cognac
after a French dinner that
does not grow in London.
"English films are
smashed," he said regret-
fully. "That is due largely
to the fact that there is no
duty on American films which
come into England cheap, to
say the least. On the other
hand, English films never did
quite arrive. The producers
never seemed quite to realize
what a stupendous job they
had attempted. For one
thing, they started on insuf-
ficient capital. For another
thing, while they may have
spent a great deal of money —
ask the stockholders and they
will tell you they did ! — they
did not give either enough
thought or money to organi-
sation. That is wherein you
Americans excel in business
— in your organization ; we
depend on tradition. Only
in the case of the films, there
was no tradition. And now,
England has not the money
to spend — we are all poor
over there in trying to pay
our debts. It shocks us to
see how much America
spends."
He waited until the band
in the near-by stand finished
its piece of American jazz.
This seemed to bring him
back to his original bellig-
erent strain of thought. I
confess that I felt a bit irri-
tated at the musical selection
myself. Neither of us had
come over here for that sort
of thing.
"I think the movies are a menace to
civilization I" He held up his hand. "What
I mean is, the average motion picture that
I have had the misfortune to see points in
that direction. They malign life." (Bear
in mind that Mr. Swinnerton is a realist
in fiction.)
"They mislead the simple-minded — I
mean that in a commendatory sense — into
leading the same tawdry, artificial life
they see portrayed on the screen several
nights a week.
"It is all made so attractive, so easy and
so alluring. I think in that way, the films
are molding half the universe today in a
way that is bound to lead to universal
mischief as time goes on."
When asked if any of his novels had
been filmed, he said, " 'Nocturne' was sold
and will be put on shortly — but I hope they
never put it on, unless they intend to por-
tray my story and not do what I under-
stand they have done to the works of so
main- others."
A. A. MILNE
(Continued from page 24)
who wrote "When We Were Very Young"
would talk and go on? And Milne is just
like that — a great big young fellow with
the spirit and imagination of a child ; but
the mind of a man, decidedly.
"Now, when they came to put on 'Mr.
Pirn'— that was from the novel, by the
way, not the play — they never asked me
either to see it or have anything to do with
SAYS HENRY ALBERT PHILLIPS:
ON this particular trip in foreign lands, I am more im-
pressed than ever by the appreciable advance that the
motion picture has taken in the mind, the imagination and
amusement of the world, since I was last abroad. I find
that London at last has a real cinema palace, American
financed and built; that Paris is cinema mad; that even
Portugal howls itself hoarse for Charlie Chaplin; that
Vienna could never do without its kinema, and that in
Monte Carlo the movie attracts the fashionable crowd from
the Hotel de Paris and plays second fiddle only to the
gaming tables in the world-famous Casino.
But, the significant point is that nine-tenths of all the
pictures are American! Most of those produced by other
nations are very bad — with the possible exception of Ger-
many. And, from my point of view, a large percentage of
those produced by America are not so good as they
might be.
The moment we probe behind the scenes, we find or
hear three discordant cries. The first is a perfect wail
from the producers: ."Stories! For heaven's sake, give
us more stories!" It is the cry of a famished and waterless
man in a barren desert. I dont think that they qualify
their demand by asking for better stories, altho I am posi-
tive they are always asking for bigger names.
The second cry behind the scenes is also in the minor
key, and it comes from many really excellent writers who
may have a good story to sell, but have not the big name.
The name being the thing, and not the "play" — as Shakes-
peare would insist — they cannot sell their work as often as
they really should. So, I contend, that there is really no
dearth of good stories, if producers would take stories
more seriously per se, and the big names less so. But they
pass the buck and tell you that the Public demands the
Big Names! So there you are.
The third cry comes from the Big Names. They make
no complaint about the eager acceptance of their stories
and the prices paid for them, but they do object to what
the producers do with their brain children.
it. It was typical of them, wasn't it?
Wouldn't even let me see it privately!"
It was plain that he was piqued.
"And when it did appear, they didn't
bother either to spell or punctuate the text
in the captions. So the errors in story and
composition stood without my having a
word to say in the matter. And to nine
out of ten who saw that atrocious misrep-
resentation that bore my name, that was
my work!"
hill. Artists and natives live togetht-
amidst considerable unsanitariness here
The new town — where Mr. Oppenheim
lives — is disappointingly like a modern
suburban development on the environs of
any of our large American cities. The
Nice golf course runs right back of hi?
house.
"Ah, the films?" he said blandly, as we
sat over coffee after dinner on his open-air
veranda that overlooked the gardens in
which the February roses were blooming
and the trees were hanging
heavy with oranges, tanger-
ines and lemons. "Well, I
find the films enormously
disappointing — I mean in ac-
tual progress. That is, they
seem to have fallen back,
got into a rut, instead oi
getting on."
I knew that he had many
of his stories screened and
I wanted to hear his expe-
rience in that particular.
"Oh, but no firm will al-
low you to put on your own
story. A novelist is always
encumbered by someone who
must be paid for mutilating
his story. It is an unfor-
tunate' fact that the film
heads seem to be under some
mysterious obligation to
people in their employ to mu-
tilate one's story. Take my
most recent film — called
'Monte Carlo,' I believe.
Why, to suit their ulterior
purpose they actually had my
heroine marry a different
man from the husband I had
chosen for her and many of
my principal characters they
did not see fit to use at all.
In the construction of my
stories, it so happens that all
the characters are necessary
to the plausibility of the tale.
However, when the film ap-
peared, the papers remarked
something to the effect that
'the picture was good, but
story poor' !"
Mr. Oppenheim passed me
some fat English cigarets
with a cynical smile and a
shake of the head. "No,
there is something wrong.
The creator should at least
be asked about such changes.
A technical adviser to the author is what is
wanted by authors — someone to bridge the
gap that now exists in such a ghastly
manner."
E. PHILLIPS OPPENHEIM
(Continued from page 25)
But Mr. Oppenheim's home — he has given
up England as his residence, he told me —
is at Cagnes, a little town lying on the
Mediterranean, half-way between Nice, the
Atlantic City of the Riviera, and Cannes,
the Newport. Cagnes is divided into two
parts : the old town which looks like a
mass of ancient plastered houses all scram-
bling up the sides of a single precipitous
E. TEMPLE THURSTON
(Continued from page 25)
He pointed down to Queen's Gate Road,
where a taxi driver sat in his cab surveying
passers-by for a possible fare.
"The only view-point in life that he has—
and it is perfectly right and normal for
him — is a fare, a paying passenger. The
British producer has his eye only on fares.
And the English author's attitude is
equally culpable, his is one of lucrative in-
difference.
"He knows that it wont affect the sales
on the production of his work and doesn't
as a rule even go to see its production—
possibly because he might be ashamed
of it."
68
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70
Dix is receiving about $2,000 on a contract
which has almost a year and a half to
run. Famous Players is offering a new
contract for considerably more, but for a
long period of time.
John Gilbert is getting $2,000 from
Metro-Goldwyn. Ramon Novarro is re-
ceiving the same amount from the same
company. Ronald Colman is said to be
getting but $1,700 from Samuel Goldwyn.
Against this, check the fact that Conway
Tearle and Eugene O'Brien get $3,000 a
week. So, too, does Lewis Stone. Wal-
lace Beery gets $3,000, likewise. On the
other hand, William Boyd is paid but $300.
The Underpaid Favorites
""There are several reasons for this odd
difference in earning capacity. Dix is
working out a long-term contract. Like
Gilbert, Colman and Novarro, he is more
concerned in getting good roles than with
a top-heavy remuneration. These shrewd
young men have studied the elemental les-
son of the screen, that a big star salary
lasts but briefly. They want to stay, de-
velop and progress in pictures. Hence,
their willingness to work at what is 'really
a moderate celluloid salary.
Consider the case of the ill-fated Bar-
bara La Marr. When she was overtaken
by her fatal illness, Miss La Marr was
earning $2,000 a week. Yet, after her death,
it was found that she had saved but $6,000
out of her entire life's earnings. She had
nothing to show for her meteoric success.
Corinne Griffith is receiving more than
$3,000 a week. Milton Sills gets $2,500.
Florence Vidor is said to get $2,000 a week
under her new Famous starring contract.
Bebe Daniels gets $2,000 as a Famous star.
This same amount is earned weekly by
Owen Moore, Antonio Moreno, Nita Naldi
and Anna. Q. Nilsson. Adolphe' Menjou
draws $2,500. As a First National star,
Dorothy Mackaill gets about $1,200. As
a free-lance, she got $1,500.
The Character Players
("""onsider the character men. Jean Her-
^ sholt gets $1,500, altho he is frequently
loaned by Universal for as high as $2,500.
Noah Beery gets $1,500. Ernest Torrence
finds $1,750 in his Saturday-night pay
envelope. George Siegmann finds that film
villainy pays, to the tune of $1,000. Wal-
ter Long also gets this for his realistic
leers. Lon Chaney gets $3,000.
Francis X. Bushman leads the old-timers
in earning capacity. He is asking and re-
ceiving $2,000 a week. True, he didn't
get this for his work in "Ben-Hur," but
he is now considered a strong comeback.
Hence, the $2,000. Henry B. Walthall, the
"little colonel" of unforgetable memory,
receives $1,500. Bryant Washburn gets
$750. Charles Ray receives $1,500.
Turn to the comedians. Harry Langdon
is getting $50,000 per comedy as a First
National star. Raymond Griffith has ma-
neuvered his salary at Famous to $3,000
as a comedian. Sydney Chaplin receives
$2,000. It is interesting to note that his
"Charley's Aunt" was one of the big com-
edy hits of last year. It earned $1,500,000.
Mack Swain gets $750 as a comedy foil.
Charley Murray and Chester Conklin draw
down $800 to $1,000 as first aids to screen
dramas. Louise Fazenda earns $1,250.
The Freak Salaries
""There are still some freak salaries in
filmdom, relics of old high salaries of
the earlier days. Pauline Frederick still
gets $3,500 to $4,000 when she works be-
fore the camera. Lionel Barrymore asks
and receives $2,500. Mae Murray is said
to get $3,000 under her new Metro-Goldwyn
arrangement. Betty Compson js asking
$4,000 a week. Since she has put aside
a good bank-account and is the wife of a
successful director, she doesn't have to
worry about working steadily.
Pause to compare some of these abnor-
mal salaries with the small sums paid some
recent foreign newcomers. Vilma Banky
is reported to receive $500 from Samuei
Goldwyn, altho she is loaned to other pro-
ducers for as high as $1,500. Cecil De
Mille offered $50,000 for her contract.
Greta Nissen had climbed from $75 to $500
when Famous dropped her contract. On
the day she was released Universal offered
to borrow her for $1,500. Now Universal
has her, at a reported salary of $750. Greta
Garbo is getting so little that Hollywood
jokingly remarks that she is being paid in
kroner and canned sardines. Miss Garbo
really receives $400.
Dolores Costello is under a $300-a-week
contract to the Warners.
Norma Shearer is said to be getting
$1,500. Sally O'Neil is receiving but $300.
Metro-Goldwyn discovered her — and signed
her under a long contract. Lillian Rich
is getting $350 from Cecil De Mille. She
is loaned frequently for $1,000. Clara Bow
'gets $750 a week from Benjamin Schul-
berg, now an official of Famous, altho
she is . frequently loaned for far in excess
of this. When the loan figure goes over
the thousand mark, Schulberg and Miss
Bow split the difference.
The $2,500 Class
Iet us return for a moment to the $2,500
1-1 class. Reginald Denny is now receiv-
ing this from Universal. This, too, is the
figure earned per week by Bert Lytell, Anita
Stewart, Viola Dana and Mae McAvoy.
Kenneth Harlan draws down $1,750. Lew
Cody, Irene Rich, Monte Blue and Helene
Chadwick each earn $1,700. The $1,500
class is larger, including Jacqueline Logan,
Norman Kerry, Harrison Ford, Bessie
Love, Mae Busch, John Bowers, Marguer-
ite de la Motte, Huntly Gordon, Leatrice
Joy, Matt Moore, Rod La Rocque, Conrad
Nagel, Marie Prevost and Alice Terry.
Billie Dove and Patsy Ruth Miller get
$1,250 each week. Receiving $1,200 we
find Clive Brook, Jetta Goudal, Neil Ham-
ilton, Pauline Starke, Lois Wilson, Robert
Frazier, Pat O'Malley and Virginia Valli.
Belle Bennett and Louise Dresser were
getting $1,000 per week when they scored
their hits of last year. Doubtless they
are getting more now. Still in the $1,000
class are Wanda Hawley, Barbara Bed-
ford, Allan Forrest, Ricardo Cortez, Dor-
othy Devore, Laura La Plante, Aileen
Pringle and Claire Windsor.
Lois Moran, the recent find, gets about
$750. So, too, does Margaret Livingston,
Claire Adams, Warner Baxter, Charles
Emmett Mack, Herbert Rawlinson and
George O'Brien. Mary Philbin is now re-
ceiving $800 from Universal. A year ago
she was the poorest paid of all the stars,
getting $300. Betty Bronson receives about
$500 from Famous. She was getting $300
a year ago.
Western Melodrama Remunerative
Ctarring in Western melodramas pays
•^ better. Against the $15,000 received by
Mix, check the $7,000 earned by Fred Thom-
son and the $4,000 by Buck Jones. Hoot
Gibson is trailing a bit at $2,500 a week.
Now for the directors. No one knows
exactly what D. W. Griffith receives, but
(Continued on page 87)
The Answer Man
(CVitftMifd from Pogt f*-*>
iMiujiiM M Yes, that wan m\ erroi
Claire Windsor ami not Mac Murray in
Madness." Douglas Fairbanks, Jr.,
j las l-'airbanks, Si 's son, and !li<-\
arc nineteen and forty-three years old.
Mar Murray is rive (eel three.
Makim\ I' So you want to see more
■1 Normand. 1 clout blame you.
Mabel's birthday will be on November 10th,
iml she -.t.it ti «t in pictures at the old
Biograph under Griffith in 1°10. For ten
years at least she was noted for her beau-
< ire aiul she certainly could dive
mi You saj you were vaccinated
yvith a phonograph needle. It's no secret.
iy, ] enjoyed yours.
; ie. — Be careful how you put others
inder heavy obligation to you — it often
•hem to detest you. Yilma Banky
.vas born in Budapest, January 9, 1902.
Rudolph Valentino has been married twice,
wee to Jean Acker and then to Winifred
iludiiut, but isn't now.
Thkda Birdie. — Yes, Pauline Frederick
I going to appear in "Uncle Tom's Cabin"
ior Universal. Margarita Fisher is to
play EHsa. No, I dont think I will ever
rim my whiskers. If I did I would lose
ill my personality, and then I wouldn't be
ible to answer questions. May Allison
las blonde hair and blue eyes.
Tfrriblf. Kit.— You certainly are. You
enow the fool often succeeds where the
vise man fails, for the former usually has
he courage of his folly, the latter fear of
lis wisdom. Jack Mulhall and Carl Miller
n "We Moderns." Fay Lanphier is with
-"anions Players-Lasky at Astoria, Long
Island. This is the shortest poem I know :
We
De
Spise
Flies
John C, Alexandria, Egypt. — So Pearl
kV'hite is in Egypt with the French troupe,
'La Cigale," and you say you were disap-
winted in her. Glad to hear you liked
'The Gold Rush." Right now Charlie
Ihaplin is playing in "The Circus." Write
ne again soon.
Nan C. — So you like the green and
irown tints in the Classic. Theodore
Roberts will celebrate his sixty-fifth birth-
lay on October 8th. His eyes are blue and
hey generally twinkle with humor. Rin-
rin-Tin has a son called "Gin-Gin-Gin."
Hope. — You say you are compelled to go
o church every Sunday, that your
ireacher is very dull, and you want me to
uggest what he should preach about. I
vould say about twenty minutes. Tell him
o read Hendrik Van Loon's "Story of
he Bible" and learn how the best story
:w told can be told in the best possible
vay. He will never be dull after that. So
ou like the Classic, but you want more
ibout Ernest Torrence and Ricardo Cortez,
tut less of Swanson and Valentino. Aye,
iye, sir! I'll tell Mr. Smith.
Ruth G. — Well, my business consists in
mswering a few fool questions, and a few
housand sensible ones. No, Ben Lyon is
ot married. Madge Evans is only seventeen
nd she has brown hair. John Barrymore
s playing for Warner right now. No in-
leed, I dont mind answering questions. In
act, it has become such a habit that I
ouldn't live without it (nor without the
15.00 a week).
Spinole Hanks.— Please dont ask me
bout religion — I dont know whether any
>f the players attend church, but I hope
hey all do. Jackie Coogan was born
(Continued on f>age 88)
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The product is concentrated, so I apply it with an
eye-dropper directly to the scalp. There it combats
the hardened oil and dandruff which stifle the hair
roots. It tones and stimulates the scalp. You feel
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for as flowers thrive in a well-kept garden.
The sample bottle which I send with eye-dropper
will show you what Hair Youth does.
This coupon will bring you a sample of the help
you most desire. My Beauty Book unit come uith
it, also some samples of my products. Clip it and
send it to me.
Your Choice FREE
Mail this coupon to Edna Wallace Hopper.
536 Lake Shore Drive. Chicago. Check the
sample wanted. My Beauty Book will come
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D Facial Youth D White Youth Clay
D Hair Youth □ Youth Cream
Name
Address
One sample is free. If you want more than
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II S7— M. P. C
71
A necessity
in every
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Sani-Flush has made the closet
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Sani-Flush is a necessity in
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Buy Sani-Flush at your gro-
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or send 25c for a full-size can.
30c in Far West. 35c in Canada.
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Cleans Closet Bowls Without Scouring
The Hygienic Products Co.
Canton, Ohio
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4*B> AT ALL DRUG AND DEPARTMENT ST0RES|
Harold Lloyd was a recent New York visitor. Here is Harold (center) with
his brother, Gaylord, and Joe Reddy, his publicity man
Masters of the Motion Picture
(Continued from page 53)
the slap-sticks or the Western pictures ;
or, they gave us a huge, eye-filling spec-
tacle ; and finally they had begun to realize
that they were not merely translating books
or plays into a sort of dumb play of what
happened in a book or a theater, but that
their business was to catch the "movie way"
of representing life, so that it was quite
clear enough and forceful enough without
the words.
Compared to what we choose to call the
modern era of films, they were still, how-
ever, giving us a "lot of photography."
There was a great deal of unnecessary and
unimportant detail in even the best pic-
tures. And as for the handling of the
camera itself, their technique might be
likened to the thin tone of the harpsichord
of two hundred years ago, before Bach
invented the piano with its immense range
and richness.
Flexibility of Today
"The modern film as we know it today,
which may be compared to a full or-
chestra, with its variety of shade or tone,
its deepened graphic power, its lightness
of touch, its complete flexibility to the will
or whim of the director, was ushered in
by the foreign invasion of about five years
ago. .
"The Cabinet of Dr. Caligari," which I
saw in 1921, made a profound impression
on the film people here. Its weird con-
tinuity, which might have been taken from
one of Poe's alcohol nightmares, prompted
the director, a certain Herr Wien, to seek
the most uncanny and fantastic effects.
He did this, on the one hand, by using
"expressionistic" studio sets that transmit-
ted the exact degree of insanity he wanted
to put over ; then by keying up his players
to chime with the "expressionistic" sets ;
and, finally, by the multitude of camera
angles which he resorted to in order to
get a startling effect of unreality.
It was a marvelous experiment if we con-
sider merely the manipulation or control
of the camera. I had often heard direc-
tors here complain about the "babylike"
mind of the movie camera. It was mad-
dening, the way it included and featured
things that had simply escaped the direc-
tor's eye as he shot his sequence — things
that had nothing to do with his scheme.
And if you blurred or touched up the film,
the whole thing looked rotten. And now
came "Caligari," with all its "distortions"
and its completely sustained atmosphere of
unreality. The inspired acting of Conrad
Veidt as Cesare, the somnambulist, and
Werner Krauss as Caligari, was easily
superior to any work we had yet seen. And
as for the staging, a police station was a
mad dream of leaning walls and masked
officials sitting on absurdly high stools; a
prison cell was a high, vaulted room, whose
toppling pillars seemed to be falling eter-
nally upon the prisoner bound in massive
chains to a painted disc on the floor. There
were bursts of poetic motion in it : Cesare
carrying off the girl, leaps thru an arched
window, her dress opening like a great
fan and describing an arc, as they dis-
appear; Cesare dancing across the jaggedly
pointed roofs of the village, with her
swooned body in his arm. . . . Thruout
there was the perfection of related move-
ments.
"Caligari" suggested immediately the
amazing degree to which you could control
the camera to secure any desired effect of
fantasy or suggestion. It suggested also
a complete control over the material pho-
tographed: the use not only of artfully
selected background, but of synthetic back-
ground, this latter stunt being taken over
bodily from the modernistic German thea-
ter of Gordon Craig and Max Reinhardt.
In its use of artificial studio sets.
"Caligari" went too far, in the opinion of
many keen observers, from the genius of
the motion picture. The completely arti-
ficial sets have the same effect as trick
photography, and become after a while
very stuffy and boring.
With the immense improvement of the
(Continued on page 79)
72
Filming "Beau Geste"
[Continued from /,'i</>"
,- which was the dreadful "Mort."
Then the commandant drew his pistol,
handed n t" Sleeman, said: "Legionnaire,
ur dut> '" and Merman put the pistol
r drunken man's temple and fired. . . .
uorc Much more
T
"The Katienjammera"
HERE is a lighter side of camp lite,
"The K»t*enjammers" Neil Hamilton
»nd Donald Stewart (Digby and Buddy)
—earned their title thus :
The fust night in camp, Ronald Colman
and William Powell were called outside
their tent by an ingenuous Neil Hamilton,
who detained them for some five minutes
sting starlight walks, a raid on the
mess tent (in charge, incidentally, of Holly-
"< smartest cafe — Brandstatter's Mont-
martrc). and a visit to the commissary.
When the two pals, having refused all
lures, re-entered their tent, Ronald's bed
:uissing (via Donald Stewart) — not to
be recovered until the dunes about the
camp had been secretly searched and the
east was beginning to brighten.
They are all boys in camp, planning
snipe hunts for the uninitiated, seasoning
>ne another's coffee with olives, toothpicks
or cheese, constantly joking. "Childish idea
of humor." they scoff, but they all indulge
in it, from the enigmatic Ronald Colman
leil Hamilton of the "spiritual" face.
Until the bugle blows "assembly." . . .
The "Beau Geste" cast hits the trail
over the sand-dunes eagerly.
The picture is something more than a
picture to them and to Herbert Brenon,
an indefatigable figure in white under a
great shade hat, who waits their coming
in the shadow of the fort.
The song of the legion of Arizona comes
ringing back to camp :
"Altons, Brenon, void la legion!"
The dream is coming true.
Hollywood Impressions
(Continued from page 39)
Kathleen recently married a banker and
all of their friends brought presents. There
were about sixty present. Mrs. Mix makes
a charming hostess and Handsome Tom
an interesting host. He was dressed in
a double-breasted black-velvet suit, and he
took delight it showing me and others the
numerous relics, trophies and curios in his
gun-room, which is about 20 x 30, with an
arched ceiling about twenty-five feet high,
filled with guns, pistols, saddles, lariats,
steer horns, and so on. There was no
entertainment except conversation and oc-
casionally a little dancing. The ladies ar-
rived at seven for dinner, and the men
at nine-thirty. At twelve I left and was
nearly the last to go. Another one of
those famous wild Hollywood parties !
£vf.rybody out here seems to have a joke
"* about the international fame and wick-
edness of Hollywood. And this alleged
wickedness is a joke. According to these
soothsayers, every sheik on the Desert of
Sahara, every potentate in Asia Minor, and
every cannibal chief in Central Africa
knows more about Hollywood than Holly-
wood herself knows. Thus the little lies
founded on false facts go from place to
place, getting bigger and fouler as they
go, like a snowball rolling down-hill, which
picks up all manner of dirt as it rolls.
The
June MOVIE MONTHLY
The Magazine with the Punch!
WHAT is a Habit? A
Habit is Something
which takes Possession
of You. Our plea is for you
to get the Habit of buying
Movie Monthly every
month and reading it from
Cover to Cover. You will
admit after reading it that it
is the leading Magazine of
the Screen in youthful
ideas. Its pages are crammed
with live interviews, live
articles on subjects pertaining
to the celluloid world, live
fiction — and live pictures.
Movie Monthly has been
setting the most rapid pace
of any film publication. Why?
Because it gives to you the
brightest, livest pages of
Romance and Adventure.
There is Spirit and Sparkle
behind it.
The Old West is brought
back to you — and the New
West lives with you. And
you are becoming acquainted
with screen people who have
never reached you through any other magazine.
The June issue of Movie MONTHLY continues to feature the
new series, Bandits of the Border. As the May issue gave you
the James Boys, the next issue will devote itself to the Younger
Brothers.
The June number will also offer Chills and Chuckles with
Comedy Lions, an article featuring the laughs and thrills
incidental to handling the king of the jungle before the camera.
The June number will also devote itself to featuring the cameraman's angle
on Shooting the Western Stars. There will be highly readable interviews with
Myrna Loy, Eileen Sedgwick, Robert Ames and Martha Sleeper. The Cowboy
Songs will continue — as will the Special Section and three absorbing noveliza-
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photographs of bathing girls and the news of the screen world.
So get the Habit. Once you have this Habit, you'll never do without Movie
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Order Your JUNE Issue of
MOVIE MONTHLY Now!
73
Something different
for fobbed Hair
THERE is a tremendous difference
in bobs. Some are wonderfully
attractive and becoming, while
others, well — which kind is yours?
I wish you could picture the
becoming kind I have in mind —
the sort that makes men turn to
admire. I can't tell you what the
color is, but it's full of those tiny
dancing lights that somehow sug-
gest auburn, yet which is really no
more actual color than sunlight.
It's only when the head is moved
that you catch the auburn sugges-
tion — the fleeting glint of gold.
You have no idea how much
your bob can be improved with the
"tiny tint" Golden Glint Shampoo
will give it. If you want a bob like
that I have in mind, buy a package
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Kobi Co., 656 Rainier Avenue,
Seattle, Washington.
Golden Glint
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HOW TO OBTAIN
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Dept.
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Blnghamton. N. Y.
Before
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Kindly enclose 10c for packing and mailing.
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3912 Cly bourne Ave. Chicago, 111.
How the Keystone Kops Happened
(Continued from page 35)
Mack Sennett as the police sergeant and the late
Fred Mace as the copper in an early Sennett comedy
helmets, caps, clubs and sockets and belts.
Gentlemen's warbrobe. — Odd coats, pants,
vests, shirts, shoes, bell-boys' suits, trage-
dian's clothes, porters' uniforms, Mexican
costumes, tennis blazers, hunting suits, rube
clothes, railroad jumpers, eccentric frock
coats.
Ladies' wardrobe. — Dancing girls' cos-
tumes, Spanish costumes, soubrette dresses,
bathing suits, old maids' costumes, shirt-
waists, wrappers, kimonos, waitress' uni-
forms, nurses' uniforms, wigs, hats and
shoes.
Incidentally, Mack Sennett was not above
appearing in Keystone comedies himself
in those days, and it is undoubtedly in the
reader's memory that Mr. Sennett was a
laugh producer par excellence, working
with Ford Sterling and the late Fred Mace,
and in these pictures he wore one of the
police uniforms whic^h has played so promi-
nent a part in this little story. (As a cap-
tain, always, of course, in charge of the
Keystone police.)
A battered police club, which the writer
has hanging beside his bed (in the interests
of self-defense only, of course) and given
to him by Harry Guttenberg the day he
purchased the Keystone wardrobe, is a
mute and constant reminder of those dear
old days — the cheery era of the Keystone
cops.
Reviewing Pictures on Broadway
(Continued from page 22)
letters, which, of course, are uninteresting.
The Big Films
Dictures like "The Black Pirate," "The
Big Parade," "La Boheme," "Stella
Dallas," "The Gold Rush" are not only
an entertainment to the writer, but also an
inspiration in writing of them. There are,
it is true, numerous other bright spots m
a critic's life that come on at the regular
change cinemas. Poor ones come along
like poor plays, but there are more of them
than the stage efforts. And even if a pic-
ture be wearying, so long as it contains
a glimpse of originality here and there, the
review of it can be approached in a humble
and hopeful mood. You dont have to
wiggle on your seat and look at your type-
writer and wonder, after all, if you could
not do better with a pencil or a pen and
ink or mayhap an old-fashioned quill.
No matter whether it is a delightful
spring day, or a blizzard is blowing, or
it is as hot as Yuma in the summer, you
always find plenty of persons in the mo-
tion picture theaters. Sometimes you
wonder why the people dont go out oi
town and on other occasions you wonder
why they dont stay home. When I take
my seat (to work) in a picture theater,
I have a hope for comparative quiet, and,
as a rule, I get it. But now and again
one is bothered by prattling patrons or
sighing fat men and women who seem to
be more stirred by pathos than by the com-
edy. One afternoon I found the theater
pretty crowded and during the screening
of the feature one small boy became so
excited that he jumped up once in a while
and came down on my foot. Above me
was another of his ilk who sat with the
toes of his shoes quite near my neck. But
taking it all in all, I have enjoyed the
youngsters in a theater because of their
buoyant spirits. There was nothing more
inspiring than the children's laughter at
"Peter Pan" and "A Kiss for Cinderella,"
which were presented during the Christ-
mas holidays.
(Continued on page 77)
74
in/hen there's singing
and dancing on the lawn — and
the gay crowds swing to music
under the lanterns and
the canopy of trees
— have a Camel!
No other cigarette in the world is like Camels. Camels contain the
choicest Turkish and Domestic tobaccos. The Camel blend is the
triumph of expert blenders. Even the Camel cigarette paper is the
finest, made especially in France. Into this one brand of cigarettes
go all of the experience, all of the skill of the largest tobacco
organisation in the world.
WHEN it's evening with
merry dancing on the lawn.
When the world is young
with youth and gay with age
— have a Camel!
For no other cigarette
made was ever so joyous on
carefree evenings. Camel
is fair companion to busy
days and glamourous, rest-
ful nights. You just can't
smoke enough Camels to
tire the taste. Camels never
leave a cigaretty after-taste.
The choicest tobaccos that
nature grows, blended to
bring you their purest en-
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Camels. Camels are the
found-true friend of millions
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So as you make merry
with friends on this most
enjoyable of nights. As you
join the gay party when the
work is done — taste then the
kindliest smoke that ever
came from a cigarette.
Have a Camel!
1926
Our highest with, if you
do not yet know and
enjoy Camel quality, it
that you may try them.
We invite you to com-
pare Camel* with any
cigarette made at any
price.
R. J. Reynolds
Tobacco Co.
Winifon-Silem. N. C
Kick off!
With the snap of a well coached team
This greatest of football pictures
Rushes into action!
Thrill follows thrill as quickly
As a quarterback barks his signals
And such a team of talent!
Jack Pickford as the heroic roommate —
Mary Brian (she's beautiful!)
And
William Haines as Tom Brown
Who played a great game of football — and love
To win out in the end!
Take "time out" to see this College Classic!
Directed by Jack Connvay, adapted by Donald
Ogden Stewart from Rida Johnson Young's cele-
brated stage play. Screen play by A. P. Younger
"More Stars Than There Are In Heaven"
Tom {William Haines) is good
at any game.
The girl {Mary Brian)
Starring Lady Luck
Onl> •' few bars ol the musit hid been
played and jane had gone thru no! more
hull .i dozen movements, when Fo
k„„- said " rhat'll do !" She crept aw i)
(l, ,: t fallen, but when •.lie «.h
down the aisle to leave the
theater, the ballet-master's sccretarj ran
hei
ikine wants to see you W ait I"
Jane waited, .mil discovered that she had
(Mi.' cried I okine, "have 1 seen such
mtiful .11 nis !"
Hired by Ziegfeld
I luck who led her to the building
wherein Ziegfeld has Ins offices, on a
oa) when that connoisseur of beauty was
ting girls foi his "Follies" shows. Girls
|| sizes, nationalities and complexions
filled the theater, the lobby, and spilled out
into the hallways of the office building.
Line Mood among an anxious throng
on the eleventh floor, punching the elevatoi
bell and hoping nobod) would think she
was m and of the mob. The elevator
didn't come, bul ' did merel) pass
ing from one office to another, lie looked
mi'. Jane jabbed the bell. He dis
appeared into an office and returned with
mpanion just as the elevator door rolled
to admit the girl.
The door closed after her. and its closing
was followed by an imperious knock.
The) want me!" thought Jane, hut she
was too sh) to say so. and the elevator
hov. with the arrogance of his kind, paid
the knock no attention.
The main floor readied. Jane lingered
in the lobby, a moment, then took her
wa> leisurely to the door. A boy ran after
her.
"Hey— Ziegfeld wants you!"
"I low do you know ?"
"Well, he phoned down to stop the girl
with the red roses and you're her!" said
the boy, more emphatically than gram-
matically.
Even so.
Jane signed with the "Follies" and played
with them nine months.
Zukor Sees Her
It was a bitter winter and scanty attire
n drat'ty stages went hard with the
latest "Follies" beauty. Cold after cold kept
her weak and ill.
"1 wasn't getting anywhere," she ex
plains. "1 didn't feel that 1 would ever
make a great singer, and 1 knew I had
started too late to be a first-rank dancer.
1 should have begun when I was five ! I
wanted to act. I have such terrific ambi-
tion."
An aunt. Jane's sole living relative, hear-
ing that the girl had decided not to go on
with the "hollies." expressed regret at never
Vork
having seen hei niece on the
prompt 1) invited I
foi the i i
Sin li a night ! I In -. tin ii
songs, null d and blew ■ the \ 1 1
She had a lii.u VeloUS lime \ll
and i wondei lid tO hi i
and slu- pressed Jam I" take hei to |
where the eel een,
"We'll go to the Rita '"ill foi lunch
Monday," promised Jane.
I ittle god I ink was '.•Hiding them. 'I hev
had to wait foi a table and while the)
waited, in came \do|ph Zukor and JeS I I
Lask) tO w all fl 'I one. too.
Mi Zukot spoke tO Jane. "Still with
the 'hollies.' eh . "
"I've just left them," murmured Jane.
All thru luncheon, she i fl t thi
the two men upon her, and as she If It the
room Mr. ZukoT came to her again.
"M i . I a ik | would like to meet ) on."
he said. "Ever thoughl of going into pic-
tures?" Resulting in a year's contract with
Paramount !
Then — "Don Juan"
L-Ioi.i.Ywoop brought back jeopardized
health, but at firsl it seemed to
no opportunity. Month alter month went
by. Fitzmaurice borrowed Jane for "Mis
Supreme Moment" and she was condemned
tn "other woman" l
Later, Barrymore's "Don Juan" was in
production. Alan Crosland, the direi
sent for Jane. " \11 you'll have to do is
to look gorgeous," be was explaining, "mag-
nificent clothes, you know, that will show
off your figure "
"Oh, no!" cried Jane. "1 hate that!
Anybody can look gorgeous. Isn't there
something with acting in it?"
"There's lira I rice in the prolog — but
you've had so little experience, and that's
a heavy part "
"Let me try !"
Larry more, consulted, gave her an ap-
praising look. "Surely," he said, "she's
Beatrice!"
A screen test confirmed his judgment,
and her work in the part won her a new
and remunerative contract with Warner
Brothers !
"I'm to play leads," she confided, eagerly.
"I'm so happy ! I hate being an imitation
Nita Xaldi — first because there's only one
Nita, and second because 1 dont fit the
part.
"There's no good reason why being tall
should make one a vamp, is there? Vamps
usually are no more than clothes-horses.
I want to do emotional seems. I'll be get-
ting somewhere if I can do real acting.
I'll be building toward a future, dont you
know?"
She has ambition, as has been said be-
fore!
FR EE 10-Daj i
; i > I 1 1 1 » i •
.!/«/// / (
Reviewing Pictures on Broadway
(Continued from />((</<• 74)
About a year ago I went to the Colony
Theater to review Norma Talmadge's film
version of the play, "The Lady." I had
been sitting watching the newsreel when
two grey-haired ladies passed by me and
took seats near me. Their conversation,
as the feature was unwound, was soft and
interesting. They were evidently harking
back to the period of the picture, some
thirty-five years ago. They found Miss
Talmadge reminded them of a relative, and
they referred gently to other incidents in
the picture. In my review I mentioned
these two grey-haired ladies several times,
and when I came to the end of my article
I wrote: "Take it from the two grey-
haired ladies, this is an admirable pro-
duction."
Unusual Experiences
Two days later I received a charming
letter, in which the person, who signed
it "Two Grey-haired Ladies." told of the
(Continued on page 79)
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You are hiding your teeth -with a
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Dental science now traces scores of tooth
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77
All's Fair in Love
(Continued from pa;jc 57)
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"Then— It Happened"
"YY/k had just been playmates before,
laughing and joking together, but
suddenly we became serious. He told me
all about himself and I told him all about
myself. We talked for three hours, mostly
about ourselves and our ideas on life — and
oh, all the things people do say in such
a case."
The sun did not come out at all that
day, but a certain small god who wears
little or nothing and carries a bow and
arrow did. Two arrows reached their
marks.
"After that, we went everywhere to-
gether," beamed the happy bride, "and two
months and four days after the first time
we met, we were married. It was this
way: We'd talked about it, of course, off
and on, but when it came it was as sud-
den as our falling in love.
"The picture was finished and we were
driving thru the little town of Santa Ana
one day. We passed a sign reading:
'Justice of the Peace.'
"'How about it?' said Bill. 'Shall we
get it over?'
" 'Surely,' I replied.
" 'Mean it? Right here — right now?'
" 'O. K.,' I said, and right there and
then we did it !"
Married in Santa Ana
The lovely Elinor admits that before the
fatal day when she set her hand and
seal to the contract to play the princess,
she had belonged to the Hollywood fac-
tion which asserts : "No, I would not marry
an actor !"
"I thought that two actors married to
each other had less than half a chance at
happiness," confessed Elinor. "I used to
say that the jealousy of a husband who
was in the same business would work
against us, that he would probably criti-
cise my love scenes with other men, and
resent it if, for some reason, I secured
better parts or better pictures than fell to
his lot.
"But I dont have to worry about Bill.
There's not an ounce of jealousy in him,
and as I have none and we trust each
other Oh, well, Bill is such a dear !"
Elinor and Bill have just taken a new
house and the things uppermost in her
mind are draperies, lamps and matching
the bedroom curtains.
"The living-room is thirty-four by
twenty," she was confiding, eagerly. "We
are so anxious to get it fixed up before
Bill has to go away on location. He may
be gone a month. Isn't that terrible?"
It was all she could do to bring her
mind back from the fascinations of the
new house to a consideration of advice
to girl fans who would like to get into a
studio and appear before the camera.
But when she had left the dear "honey-
moon house," Elinor had sound advice to
offer.
Simplicity and Dignity
"Cimplicity is the one vital thing," she
said. "A little while ago it was the
girl who jazzed in and tried to get over
a piquant personality who got the chance
to try out. Anything striking enough to
attract attention helped, whether it was
make-up, dress or a certain 'line.'
"But not today. Producers are looking
for girls who can look and behave like
real ladies. Anyone can take on the man-
ners of a tough, but no one not a gentle-
woman can show breeding.
"Be as simple as you can in clothes,
colors and actions. Select plain little
dresses that become you, in colors that set
off your particular personality. Carry your-
self well and speak in a low, clear voice.
"Simplicity goes in acting, too. It is far
more effective than chewing the scenery.
For example, in the 'Volga Boatman,' Vic-
tor Varconi has to strike Bill with a whip,
after showing an ungovernable temper.
Bill does no more than narrow his eyes
while a ghost of a smile plays around his
mouth. But there is more menace in his
single glance than in all the raging of
Varconi."
That Elinor Fair follows her own good
advice was shown by the dress of fine
Alice-blue flannel she was wearing — a dress
simply trimmed in the daintiest of narrow
braid, and matched by the plain felt hat.
And talking of careers, when Elinor
was a tiny baby in Richmond, Virginia,
her mother dedicated her to fame. The
baby learned to dance almost as soon as
she began to walk. When she was eight,
her mother took her to Leipsic, Germany,
to study the violin. From Leipsic they
found their way to Paris, France, where
the little girl was given masters to teach
her voice culture. She can remember walk-
ing with her nurse in the Luxembourg
springtime doing breathing exercises as
they went.
Studied Abroad
Then came Brighton, England, and a
course at a girls' school.
But always she danced, and at length
at the ripe age of fourteen Elinor ap-
peared on the stage of the Alcazar Theater
in San Francisco doing two solo dances
in a musical comedy.
Moving pictures seemed to offer greater
opportunity than anything else, so presently
the mother and daughter journeyed to Hol-
lywood. Fewer girls were storming cast-
ing directors' offices then, and presently,
on Elinor's fifteenth birthday, she received
the plum of the part of the little cripple
girl in "The Miracle Man."
"Lon Chaney used to make me up," re-
membered Elinor, "and I learned so much
from him. That picture made him famous.
Then I had a part with Adolphe Menjou
in Mary Pickford's 'Through the Back
Door' — and right after that Menjou be-
came famous. I was a mascot, they said.
"And so it went — I worked nearly al-
ways, but rarely had good parts in g
pictures. I was beginning to be terribly
discouraged when I was cast to play the
girl with Buck Jones. . . . And see what
happened !"
There we were back again at the new
house, discussing the right place to find
those clear red bowls that add a touch of
color to one's living-room, measuring the
width of a window-seat, and arguing about
the best shade for the summer slip-over
covers — if one should decide to use such
things.
"Marriage and careers mix very well,"
observed Elinor. "We've been married
two months and I still think of Bill as
my 'boy friend.' Isn't that wonderful?"
Y
OU cant afford to be without the
cTVTOTION PICTURE CLASSIC
J ^
Masters of the Motion
Picture
learned to secure
brilliant effects ol distoi n<>n 01 mi. i
i, n. mi nature alone, merch l>\ I he
, .it which the camera approached its
ial
But In now the cinema had become an
anient which lent itself flexihlj to the
n.ilioii Willi I he tit •< m I of
• Cierman pictures, such as l.uliitsch's
ption" and "Passion," with the mak
oheim's "(.reed." the modern era
been ushered in. Instead of beit
j for spending an evening gaping .it
star's agreeable physiognomy, the
a vehicle for the expt cssion
ol pictorial beauty, relating movement, and
■ and tailing tempo. In works such as
t haplin's " \ \\ oman ol l'.o is." 01
red Wagon," the photograph) had
become so clear and logical that the clean
Inns of a picture always converged directly
upon the thing or figure that should hold
our attention. Their touch u.is more deli
and more intimate than ever before.
The >huttmg of a door, a nudge, the grip
hand such things acquire tremendous
ificance in the new photograph) and
the new directorial technique. The inven-
tions and experiments of Lubitsch alone
can hear the fullest examination, "(Ireed"
is an imposing chapter in the history of the
new art.
It is interesting to note, however, that
James Cruze had followed clearly the
American tradition of (irillith. as well as
that of Sennett, in "The Covered Wagon"
and "Hollywood." And thru Cruze you
re finally at the superb achievement of
Kmg Vidor in "The Big Parade."
[Mr. Josephson will contribute a second
article on this subject in the July Classic]
Reviewing Pictures on
Broadway
(Continued from page 77)
enjoyment of reading about themselves,
adding 'now gratified they were to observe
that they had "modulated, cultured voices."
The writing-paper showed that they were
living in a Fifth Avenue hotel.
A reviewer's life, as you may have
gathered, is not all beer and skittles. There-
are days when the theaters are terribly
crowded and when the management has
forgotten all about the critics. At the
opening of "The Freshman," the best tlicv
could do for me was to give me a seat
in a box, from which Harold Lloyd looked
to me about twenty feet tall and a fool
wide. I explained to the manager that
my review from that position would be
hardly what he wanted to see next morn-
ing. He then escorted me to the other
side <n the house, where there was a sim-
ilar seat in the opposite box. 1 was in-
dignant and the manager was anything
but happy. Nevertheless, we were sur-
rounded In the merriest crowd one could
hope to see. Finally they found a seat
for me. and I soon joined in the laughtei
of the packed theater.
Just to be a little original, a Xew York
theater manager decided to present "The
Gold Rush" a little before midnight last
August. Hence, the critics, after their
day's work, had to get down to business
at the witching hour. Mr. Chaplin, look-
ing spry and cheerful, was greeted by
(Continued on page 84)
Mme. Blanche Arral, Opera Star
Finds, in Java, New Way to Reduce Fat
Javanese Woman
The secret of the Javanese women's
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This method, it is said, removes fat at
the rate of about one pound a day, and at
the same time strengthens the body and
benefits the general health.
"The results were astonishing,'' says
Mme. Arral. "Just this pleasant simple
native treatment took away my surplus
flesh, restored my voice and my health.
Today my mind is clear and buoyant, and
I truly feel as though I had stepped from a
hazy darkness into bright, glorious sunlight.
"I had previously tried. I believe, every
method of flesh reduction known to med-
ical science. I used drugs, starvation diets,
purging, rolling, exercising, long walks,
rubber garments, etc., but they did me
more harm than good."
Opera Star Reduces
34 pounds in 4 weeks without
Drugs, Diet or Exercises
When Blanche Arral appeared in this
country some time ago she was so stout
that only her marvelous voice kept her
from being actually amusing in such roles
as Carmen and Juliet.
She returned from abroad with a figure
as beautiful as her voice. The trans for
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pounds, lost a double chin and looks fifteen
years younger.
"I had gained flesh, oh, so rapidly," says
Mme. Arral, "I was ashamed to appear on
the stage. Fat made my health miserable
and affected my voice. I was dull, heavy,
stupid, unable to digest food or sleep.
"Finally while touring Australia my health
broke down completely, my voice failed and I
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In response to a deluge of requests for infor
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80
They Told Buster to Stick to It
(Continued from page 32)
play in Los Angeles, Buster is still "a
kid."
Buster's Autograph Album
f* ETTING Keaton to talk about himself or
his early career is as difficult as getting
him to smile. It cant be done. He shuns
the limelight, a trait which becomes more
pronounced each year. Perhaps the most
prized memento of his early days is a
travel-worn diary and autograph album.
It contains signatures, verses and tributes
of Elsie Janis, Mclntyre and Heath,
Louise Dresser, John L. Sullivan, James J.
Corbett, Will Cressy, Fred Niblo, J. K.
Etnmett, Jack Norworth, Flo Irwin, Tom
Sharkey, Lew Qockstader, Tony Pastor,
(liarles K. Harris, Robert Milliard, George
Monroe, Cheridah Simpson, Banks Winter
and hundreds of others, many of them long
since dead and others who have risen to
still greater fame on the stage and screen
and various walks of life.
The late Lew Dockstader made one of
the first entries in Buster's book, naming
the place of the future screen star's debut
in the following rhyme :
"Buster, you're a dandy; Buster, you're a brick;
Buster, you can make all juveniles look sick;
Some day you'll be a great one, the captain of
the crew,
But dont forget old Wilmington, the place of
your debut."
Fred Niblo first met young Keaton on
Christmas Day, 1904. By this time nine-
year-old Buster, as a member of the Three
Keatons, was famous thruout the vaude-
ville circuits. The director of "Ben-Hur"
then was with the variety team of Newell
and Niblo.
Niblo recorded in the youthful fun-
maker's album :
"Some day, Buster, you will be one of
our greatest comedians. I predict a great
future for you."
During 1904 Elsie Janis made this entry :
"There's a dear little man we know quite well,
Who around our hearts has cast a spell:
If he made a mistake you never could tell,
For he's a mimic, comedian and acrobat as
well."
Another generation will recall "Bill
Bailey"' as one of the song hits of 1903.
The vaudeville team of Girard and
Gardner wrote the following in Buster's
book on February 27 of that year, while
the Three Keatons were playing in De-
troit :
"The audience was cold
And we worked twice daily,
I > i c 1 all we knew, including 'Bill Bailey';
But it was easy for Buster,
And the house laughed gaily
At the smart little man
With the strut of Dan Daly."
Old John L. Predicts
(~)li> John L. Sullivan wrote in gigantic
letters in Buster's album :
"Little Buster, you may be a big Buster some
day. May 21, 1903."
Jim Corbett predicted, in the parlance
of the ring :
"Buster, you're a knock-out."
Tom Sharkey waxed philosophical and
made this entry :
"To my little? friend. Buster, from bis old friend,
Tom Sharkey. And after all, life is but one
sweet dream. Let us be blithe and gay, for
tomorrow is another' day. Yours truly, Thomas
J. Good boy!"
Bert Howard didn't know anything about
motion pictures when he wrote, back in
1903, at Indianapolis:
"Buster, you will be America's foremost come-
dian. Bead this book forty years from now
and see if I am not right."
Mclntyre and Heath were responsible
for the following r
"Buster, you are the biggest of them all, tho
not in size. But for wit you get the prize."
And Digby Bell wrote:
"Be good, Buster, and you'll be eccentric."
At that, Buster ought to be good, in
more than one sense. He was born in a
church, on November 4, 1895.
The town in which he made his worldly
debut isn't even on the map today. A
cyclone put it in the missing column, and
they've never taken the trouble to rebuild it.
Born in a Cyclone
HThf. Pickway, Kansas, "that was," was
forty miles north of the Oklahoma line,
west of Coffeyville, and not far from
Cherryvale. Father and Mother Keaton,
Joe and Myra, and Harry Houdini, now
the famous magician and escape artist,
were touring the country with a tent show.
On the Saturday night before Buster was
born, a wind-storm blew down the tent.
While Keaton, Houdini and a few towns-
people were trying to get the show house
up again, a cyclone hit the community.
That was the last anyone ever saw of the
tent.
The only clergyman in the village, a
Catholic priest, heard of the visitors' plight
and of the expected visit of the stork. He
volunteered to go for a doctor, and sug-
gested that Joe Keaton bring his wife to
the little home next door to the tiny church.
Keaton and Houdini started for the
priest's house with Mrs. Keaton at one
o'clock Sunday morning. In the darkness
they mistook the church for the house, and
Mrs. Keaton was taken into the sacristy.
There the priest and the doctor found the
troupers, and there Buster Keaton was
brought into the world.
Buster — altho his name was then Joseph
Francis — became a trouper that day and
remained one until he went into pictures
twenty-one years later. One day when he
was about six months old, the lusty young-
ster demonstrated his tumbling proclivities
by falling all the way down-stairs. The
mishap failed to injure him, and Houdini
exclaimed : "What a Buster !" And that's
why the bill-boards today do not read
"Joseph Francis Keaton."
How Buster ever arrived at man's estate
without crippling himself for life, or
worse, has always been a mystery to his
family. The boy was continually getting
into trouble. He had an advantage over
most youngsters in this respect, for the
family was forever on the move, and each
town presented new adventures — new
places to get lost, new ways to get hurt,
and new boys to fight.
The Three Keatons
A ff.w years later, after the elder Keaton
^^ and Houdini had dissolved their tent-
show partnership, Buster and his father
and mother toured the country as the
Three Keatons.
One of the inducements which prompted
Buster to try his luck in motion pictures
late in 1916, at a salary of forty dollars a
week, instead of accepting an offer to head-
line Shuhcrt's Winter Garden show in
New York at several hundred dollars a
week, was the prospect of settling in one
place for more than two weeks.
Fate again intervened, and Buster wasn't
yet ready to settle down. A few months
(Continued on page 89)
The Off-stage Laugh
( i 55)
•'I | ■ . w u i ili.it, Mam He
,il rr.ilK i urn i i in il .ill. 'in i!.
"Pi il, Kayiuund, but timed .1
. IM say. Speed it up i little
Raj turned to me.
••| )ni you ti i .i laugh, neighbor?"
"Su Imitted. "'I thought it was
I funny."
. w.i- .ill between-scenes conversation,
entirely out "t earshot to the rest of tin-
troupe luldie Sutberland, who was ih
ig the picture, was discussing a mat
litiun with bis cameraman. He
Called for .1 retake.
mother one foi Mr. Zukor," he said,
"That \\.i> fine, folks, but let's speed the
tempo m> a little tln> time." And so and
.1 Ml
Frances nudged me.
"Papa will give me a bouquet for that
one," she laughed.
"How long has this thing been going
I asked her.
M0h, years ami years," she said.
d she told me the story. How in the
old trouping days her off-stage laugh de
nstructive criticism that has
carried on with the years, which have
brought lame to her husband.
"At first there was no motivation behind
my off stage applause beyond the natural
admiration of a girl for her sweetheart,"
said. "His antics were always tunny
tO me and I'd laugh whether anyone else
laughed or not.
iradually as we traveled over the coun-
try, hungry half the time and wearing
diamonds and eating filet mignon the other
half, the realization came to me that Ray-
mond was depending on my moral support
from off stage. If 1 was depressed, as I
often was in those hectic days, and failed
to respond to his act, his humor seemed
leaden and his audience would freeze right
up on him.
"Then I got it. He was playing to me,
off stage, instead of to the crowd out in
front. In other words, he was trying to
make me laugh and was cheating the
people who were paying to see the show.
1 resolved to hold out my support until he
actually made me laugh, as he had when
we had tirst started trouping together.
This attitude toward his work I still hold.
Now when 1 laugh, he doesn't feel flattered
at all. Hut my laughter gives him confi-
dence in himself, for he knows that I'm not
laughing just to cheer him. hut because I
am convulsed with the humor of the thing."
Ray once wanted to quit the .Uage and
go to work on a farm.
"You're a good actor, Ray, but you'd
terrible farmer." Frances told him.
"From now on you do the family acting
and 1*11 do the off-stage shouting. And if
you dont learn your lines I'll quit you cold.
Then you'll starve. What do you think of
that?"
"I knew she was right, so 1 learned my
lines and she stuck with me," said Ray.
"I could never have made the grade with-
out her."
She has never taken any active part in
the direction of his screen work. Her part
is all sub-rosa — off stage. But as a favor
to him, Ray asks that she he permitted to
see the daily "rushes" of the scenes in
which he plays. At home they talk it over.
And Ray respects her judgment to the last
chuckle.
"Frances is a big-hearted gal," Ray has
often told me. "But her sense of humor
has had quite a strain. And believe me,
neighbor, when she laughs at me I'm a
riot."
The Telephone at the Qentennial
One hundred years after the
signing of the Declaration of
Independence, the infant tele-
phone was first exhibited at the
Philadelphia Exposition.
Since the dawn of civiliza-
tion, mankind had sought some
means of communicating over
distances which unaided hu-
man speech could not bridge.
Drums, signal fires, runners, the
pony express, and finally the
electric telegraph were means
to get the message through. It
remained for the telephone to
convey a speaker's words and
tones over thousands of miles.
"My God, it talks!" ex-
claimed the Emperor of Brazil
before a group of scientists at
the Philadelphia Exposition,
as he recognized the voice of
Alexander Graham Bell, dem-
onstrating the new invention.
Today, after a brief half-
century, the telephone lines of
the Bell System have become
the nerves of the nation. The
telephone connects citizen
with citizen, city with city,
state with state for the peace
and prosperity of all.
American Telephone and Telegraph Company
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81
iiiiiiiiiinii!iiiiiiiii!iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii;nmiiiiiiiiiii[iiiiiiiiiiiiiiiiimiiiii!iii
Verve! Ginger! Pep!
There's nothing old fash-
ioned or hackneyed about
THE CLASSIC! It admir-
ably reflects the youthful
spirit of 1 926. It is out of
the beaten track of screen
publications. It is unusual,
distinctive, sparkling. It is
recognized as the best ed-
ited of all motion picture
publications. The greatest
screen writers contribute
to THE CLASSIC each
month. It is truthful, fear-
less and authoritative. You
cant afford to miss a single
issue.
The
July Classic
Watch for the RICHARD DIX Cover!
The July CLASSIC will feature a remarkable,
human interest story of Richard Dix, the most absorb-
ing document since The Motion Picture Magazine
published the life story of Jack Gilbert last Summer.
Henry Albert Phillips will continue his series of
interesting interviews with the leading British and
Continental authors on the subject of motion pictures.
In the July CLASSIC you will find the opinions of
Vicente Blasco Ibanez, William J. Locke and W. B.
Maxwell.
Another striking feature of the July CLASSIC
will be a startling article on production errors, mis-
takes of costuming, sets, etc. It is written by an ex-
pert and you will find it of keen interest.
And a dozen or so other big features!
82
Tents in Canaan
(Continued from page 63)
lute and wreath design on rug and chair.
Pale pastels on the sage-green walls.
Leases His Own Place
Tt is a queer line of speculation — to think
how, like a partridge, this pure Nordic
who originated, I believe, somewhere in
Iowa, has found his exact coloration in
environment. Perhaps his wife has helped
— I dont know.
But Charley loves his English cottage
home. Smilingly, but with a certain tight-
ness at the lips, he speaks about his strait-
ened finances, and the joke which was
played on him.
Charley had attained great popularity as
a star. He had built and furnished this
cherished home of his. Then he tried to
make his own pictures — artistic pictures —
independent pictures. The trust squeezed
him — crushed him — flattened him out a
helpless midge on the ground. Creditors
took his home — like a flash. But they were
not quite so cruel as creditors are in mov-
ing pictures. They allowed Charley to
lease the place — his place — from them,
while he began, slowly, painfully, to mend
his shattered fortune.
He is working now in a picture called
"Paris" for Metro-Goldwyn- Mayer. But
it will be a long time before Charley can
buy his cottage back.
("""harley is exactly like the china shep-
herd lad that stands by the door. To
have ousted him from his home would
have been as cruel a procedure as to dash
down the pretty boy from his pedestal.
The shepherd lad has a cocked hat, blue
hair, white ruffled collar, a long^tailed coat
of mulberry, and tight green knicker-
bockers with large gold roses all over
them. His dainty feet in black pumps are
crossed at the ankles and at his feet
crouches a long-eared dog.
Morning. The birds singing shrilly in
the garden. The hedges smelling like an
English lane. The fountains with their
chubby cupids that match the chubby
cupids on the andirons in the fireplace.
Costly, dainty, spicky beauty. Arrogantly
cheerful. Maddening really, unless you
are a Nordic yourself.
A Borgia Bungalow
""Fhe Countess Domski, being of Polish
extraction, selected the American Colo-
nial for her Beverly home. Pola Negri's
house is white, high-pillared, and marked
by two austere sentinel palms.
The interior frankly discards the Colo-
nial. It is Italian Renaissance. Paintings
and hangings in tints of dull wine and dark
smoke, dark brocades, tables and chairs
carved in the severe rectangular style be-
queathed by the papal aristocracy ; coffin-
like chests that rest on claw feet and orna-
ments of beaten bronze and brass.
Before the stone fireplace, giving tea to
Chaliapin, the mistress might be a Borgia in
her dark, sensual beauty. Pola is as de-
cisive a type as the Italian interior of her
Colonial house.
Above her fireplace Pola has her own
portrait by an expensive portrait painter.
But May McAvoy, one of the few who
still cling to a home in Hollywood, has
hung above hers some Rembrandts per-
chased in Paris while she was making "Ben
Hur." So why should the spirit of Pola
be proud?
Moreover, I remember seeing, in the
home of Mr. and Mrs. Joseph Schenck
(Norma Talmadge) a most interesting
example of a batik, which seemed unusually
rinlii in t lit -> conglomerate hou e \"
ii .1 blind canyon,
>n animal i<
I I . wliu ll WUM l> HHIIV lloWII
1:1 I lie wall; il'olll l>i lllllil a
llklll^ nil!
hit unprotct leil real
\ | ;rcal spii it. It hang on tin-
hall was up. win
I 'ianicd l>> a lieavil)
d niatei lal woven with I pure
• Joe Selienek SIO.IKHI and
in he ilone without i ecoiu »c
:titT.
The Schenck Residence
Tin Schenck residence i> indeed the only
'house I know in Beverlj which does
cling desperate!} to it-. |K'riod. \t best
it shows a -dn;lit Italian inllueiice on the
Within, it is what a business man
lis wile would make it.
The ground mfortabh modern.
A winding cement walk leads t>> a 1
,\ house. Hack of it the dog kennels.
I a latticed place full of all kinds
The} hang from the roof and
the sides, u. entwined with the
e walls, weaving a solid pattern in
. i >
the right the inevitable swimming-
puol. Bright awnings canvas chairs. And
-court enclosed in poultry netting.
with electric lights so you can play at
night.
A practical, comfortable home that in
no wise dissembles the tastes of it-- owners.
The radio is not camouflaged as a plumed
lit, nor the telephone as a Dresden doll.
ichenck's desk is brazenh a desk.
Kn't it possible that after sufficient years
have passed some iiouveau richc of the day
ma} cop} this home as a line example of
twentieth-century American ?
The Celluloid Critic
ntinued from page 51 )
The scoundrel collapses eventually and
the dancer relents. She dons a couple of
golden saucers and several beads and does
> modi tied Oriental dance before the
dying man's e}
Of course, all this is just garish drivel
in the lx.'St style of the overpraised Arlen.
who. according to the caustic George Jean
Nathan, writes like an overeducated coon.
Here you will find a bit of Paris revelry
in which the statues come to life. The
whole thing is cheap and tawdry.
Dorothy Mackaill is rather better than
usual as the girl Coiisuelo. Personally. I
am beginning to revolt at Conway Tearle,
who plays a wooden gentleman who loves
u'/ti from afar. That forehead with
its quizzical uptilt of the eyebrow- is
palling on me. Tearle hasn't acted in two
or three years.
"Devil's Circus" Overpraised
CniE of the metropolitan critics were im-
pressed with Benjamin Christianson's
first American film, "The Devil's Circus."
To me it was just early Griffith plus a
dash of Seastrom pseudo-symbolism.
Christianson is responsible for both the
story and the direction. The thing is awk-
wardly, even crudely, told. The' locale is
th Europe, probably Germany. A little
girl. Mary, comes to the city and is per-
suaded to go to a disreputable hotel. The
persuader is a gangster whose intentions
aren't all the censors of Pennsylvania or
Kansas might desire. The girl's innocence,
however, makes a man of the weakling.
(Continued on page 91)
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Reviewing Pictures on Broadway
{Continued from page 79) -
everybody who could get near him as he
walked down the aisle. It was one of
those occasions that cling to one's mem-
ory. Fortunately, the writers did nut have
to go hack thai night tu give their impres-
sions of the picture.
A New York theater was so crowded
mi the afternoon Valentino's "The Eagle"
was first presented that the newspaper
writers had to be escorted to their seats
via the stage door. Another unforgetable
opening was that of "The Thief of Bag-
dad," because everybody had to battle their
way to the theater lobby, and even Douglas
Fairbanks had a hard time in carrying
Mary Pickford thru the curious and press-
ing throng. Morris Gest had gone one
better than the usual presentation, for in
addition to the great arc lights and periodi-
cal flashlights, there was the Arabian,
dirge-like music in the lobby and wafted
to the sidewalk there came the perfume
of incense.
The Rush of Reviewing
Tt is no wonder that the critics are en-
thusiastic about an afternoon pre-showing
of a picture, for after the evening per-
formance, which finishes, as a rule, well
after eleven-thirty, the reviewers have to
hurry back to their offices and turn out a
carefully written impression of the film.
There is romance and glamor about a
great newspaper office just before midnight.
Boys are hastening here and there to the
call of "copy," and carrying the sheets
of paper to the telegraph and city desks.
The reporters, with telephones at their el-
bows, are beating on their typewriters, and
the copyreaders, seated around two great
semi-circular desks, are absorbed in their
work. Cables from all parts of the world
and telegrams from many different points
of the country are coming in, and shortly
before the dead-line every effort is made
to send the late stories up to the compos-
ing room to catch the first edition. As
a rule, the critics of music, the drama and
motion pictures do not have to worry
themselves about the first edition, but they
must have their articles in the second edi-
tion, which is from three-quarters of an
hour to an hour later than the first. Hence,
you will see the critics from the three de-
partments coming into the office, usually
in dinner jackets, peeling off their coats
and sitting down at typewriters in their
respective offices. The programs are be-
fore them, and they sit for a while in
thought conjuring up the first few sen-
tences and then go ahead with the effort.
Sometimes a review may be only eight
hundred words, and on other occasions it
may be nearly twice that length. It is
something you can read very quickly,
but an effort which requires painstaking
thought to transcribe.
The critic invariably waits in the office
to read the proofs of his work, and then
he goes home with his mind filled with
thoughts of what he has seen. His dreams
at times are possibly infinitely more in-
volved and more flighty than any film that
has been made, as while he sleeps he may
have the heroine of one picture mixed up
with the hero of another and the villain
of another production turned into a nice
young man. And the comedy character
may, in this sleeping thought, turn out to
be a minister of the Gospel who never
slips when he treads on a banana peel.
And then next morning this critic who
has written the stuff, and read it on his
typewritten sheets and also in proof, glances
at the news of the world on the first page
and then turns to look at his yarn as it
is in the paper. Another review has been
written and other pictures to see.
Letters to King Dodo
{Continued from page 61)
Eighty feet under the paving-stones of
Rome, haunted by the togaed ghosts of
citizens once buried there, the Bragaglia,
he said, is peopled by tall houris — slender,
black-eyed, dark- faced, always dressed in
white, wearing no stockings, in the most
extreme decolletee and the most exotic of
make-ups. Item : empurpled eyes.
A rickety, medieval, wrought-iron bal-
cony is woven around the interior. Dark-
browed gentlemen carry knives that spring
out of the handle. Futuristic paintings deck
the time-stained walls.
Lanson Pere ct Fils, gentleman's vintage
of 1911 — eighteen cents a bottle! And a
journalist gets fifty per cent, off!
Nevertheless, Carey came back to Hol-
lywood.
The Foremost Screen Writers Contribute Every Month to the
MOTION PICTURE CLASSIC!
Eugene V. Brewster
Agnes Smith
H. W. Hanemann
Alice Tildesley
Mordaunt Hall
Don Ryan
Matthew Josephson
Frederick James Smith
Robert E. Sherwood
Sara Redway
Tamar Lane
Harriette Underhill
Harry Carr
Laurence Reid
Every month, too, THE CLASSIC presents the best work of such
artists as John Held, Jr., Everett Shinn, K. R. Chamberlain, Covarru-
bias, Major, and Wynn.
84
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PICTURE CLASSIC published MONTHLY at JAMAICA.
N Y for APRIL 1st, I92ti State ol NEW YORK.
INOS. Before me. a NOTARY PI BLIC
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Dl SCAN V DOBIE. IR.. who, haying been duly
aerordlnf to law. deposes and says that he is the
\IA.N.\i;KR of the MOTION PICTURE
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Laws and i(
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and business managers are: Publisher,
BREWSTER PUBLICATIONS, INC.. 175DUFFIELDST .
BROOKLYN. N Y. Editor. FREDERICK JAMES
SMITH. 173 DUFFIELD ST., BROOKLYN. N 1
lltor, FREDERICK JAMES SMITH. 175
DCFFIELD ST.. BROOKLYN, N. Y. Bu.siiuiis Man-
Dl Ni AN A. DOBIE. JR., 173 l>l FFIELD ST.
BROOKLYN, N \. : Thai the owner i- (II owned
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..ii i LI GENE \ BREWSTEK, 173 HI I
FIELD ST.. BROOKLYN. V V 3. Thai the
iidlioldus, mortgagees, and oilier security
rs owning or holding one per cent, or more of total
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r upon the books of the company but also, in cases
" rkholdcr or security holder appears upon
I the company as trustee or in any oilier
iy relation, the names ut the i
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aid two paragraphs contain statement.-
affiants full knowledge and belief as to Hie circum-
- and conditions under which Stockholders and
security holders who do not appear upon to
mpany as trustees, hold slink and securities In a
capacity oilier than that of a bona fide owner; and this
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S. ■?"'.' SUDScribed before me this Isth ,i ,
MAIN II. 1926. E M HEINEMANN. (My com-
mlssiou expires MARCH 30lli, 1926.)
"Old Ironsides Sails the
Seven Seas Again
\t\nued ft
\nil t.i think the authors had never h
ni applii 'I i1 ycholi • ■.■ ) in th \p
plied masculine psycholi
Because, v"U see, in that hectic daj ,;
bold, I'.ul 1 1 1 1 M '1> pirates had be< om
•K- and powerful that thej were chal
ng the ii. t\ ies of the world and corn
pelling tribute from them. Oh, but it was
,i matter of international ridicule when
the new struggling independent colony
- the \tlantic thought to build .1 navy
.mil defy them.
Came "Old Ironsides"
Di r that new ship was built of exti
dinarily hard wood wood thai later
proved impervious to gunshot and earned
her the title of "Old Ironsides" wood so
wonderful that the old boat exists today,
villi capable of restoration to life and ro-
mance.
And she had been built <>n the "expense
be damned" theorj which the United States
\.i\y has followed ever since, inspiring
that famous cry, "Nothing for tribute but
minimis for defense."
However, for the purposes of the pic-
ture she was not yet restored to
worthy endurance, so the Lasky studio lias
liuilt a faithful replica of "Old Ironsides."
They had the navy's old original plans to
work from, lent by the government, and
tier mainmast stands 217 feet high from the
water-line, higher than a twenty-story
building !
And she recks of rope — oh, hut there is
something so intensely masculine about
rope. Even today note the scorn of the
reef knot sailor for the landlubber's
"granny." And such mighty ropes were
needed for this old sailing frigate that none
are made of such dimensions today. Spe-
cial ropes, nigh thirty inches in circumfer-
ence, have been specially woven for the
purpose, 100,000 pounds of it.
But there was still another difficulty.
The race of men who sailed these mighty
sailing ships, who "know the ropes," have
become extremely rare. So they have been
culled one by one from Canada, San Fran-
cisco, Baltimore, to man the mimic "Old
Ironsides." Of course, there must be two
crews — the professional sailors and the
actors. Hut lots of the real sailors will
take part as well. Fortunately, several of
the actors, like \\ ally Beery, who owns
his own yacht, and George Bancroft, who
served six years in the United States
Navy, are good seamen, too.
The Baltimore sailors are bringing round
the dozen or more old sailing boats that
have been searched for and discovered in
[•".astern ports — ships heavy with mighty
. huge masts, calling for prodigious
skill of seamanship that engine-driven ves-
sels dont demand, all of which will take-
part in this oh. so masculine, glorious sea-
fight in the Mediterranean (off Catalina
Island in the Pacific).
Catalina as Salem
James Crize himself visited Tripoli to
note the landscape, the type of architec-
ture, that its replica on Catalina Island,
California, might be faithfully exact.
Every tiny detail is compared with geog-
raphy and history. The old wharf at
Salem erected on the Isthmus Bay on
Catalina Island is a faithful reproduction
of an old print. And here it is interesting
to note that Charles Farrell, who plays
The Boy in the story, actually lives at tape
Cud, and has haunted old Salem many
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184 S. Limestone Street Lexington, Ky.
times in his boyhood and is steeped in its
traditions.
The real "Old Ironsides" was built like
a racing sloop, a tremendous innovation in
naval ships in those days, and designed fur
speed — speed, which America has lived up
to ever since. It was her speed, her sea-
manship, her tough old hide, that defeated
the pirates at Tripoli in 1804 A. 1). and
started magnificent tradition for the great
United States Navy that was to be. Her
copper sheeting was made by Paul Revere,
and her first flag by Betsy Ross herself.
I have just spent a week-end with the
"Old Ironsides" company on that Isthmus
end of Catalina Island, which has been
transformed for the occasion. Here James
Cruze, director, is king. There is an old
home, built years ago by an old California
family, perched high on a hill. Here King
James and the stars of the company are
accommodated, with a first-class cook to
take care of their precious innards. Swift
machines race up and down the perilous
winding road at meal-time and bed-time.
Below in an amazing camp created for
the purpose, are accommodated all the
lesser persons of the cast, the cameramen,
electricians, carpenters, plumbers, ships'
crews, etc. Their meals are served in a
large mess hall — and incidentally their
cooking is no less worthy. I ate with both
the stars aloft and the crew beneath, and
I know.
On Location
I^ing James wears a bright scarlet coat
of the English hunting order during
the relaxation period. But for the out-at-
sea shots he has provided himself with a
pair of violently new seaman's overalls.
He is more impressive, either way, than
the Admirable Crichton of Barrie's play of
that name — when reigning over his island.
Wally Beery keeps in his rascally old
bo'sn character most of the time, grinning
wickedly thru a week's growth of
beard, and from beneath a shaggy, ill-kept
wig with one of those funny pigtails. His
wide and willowy old pants and the disrepu-
table-looking short coat of the day, and
the screamingly funny blob of a sailor cap
are his regular attire while on this "loca-
tion" stunt. He spends all his spare time
fishing for tuna, which hadn't bitten to
date.
George Bancroft, too, has an amazing
growth of his own hair, a weird orang-
outang beard, and what we should now
consider a child's round straw sailor hat
on his head.
Esther Ralston, whose new husband, Mr.
Webb, accompanies the party, is droopingly
adorable in a long empire gown to her
ankles, a queer little poke bonnet, a funny
little puffed sleeve coat and a huge muff —
but she dons a cute modern sport costume
for the evening dinner and the dancing to
the company's orchestra afterwards, up in
that stylish house aloft on the hill.
For the rest, the island seems peopled
with a vast company of amazing ruffians,
with a few civilized modern workmen
thrown in — for they wear their wild and
ancient costumes most of the time, and the
men have all grown fierce hair for the
picture. One can imagine the emotions of
an uninformed visitor to the island upon
striking this astonishing-looking band.
But in spite of the hair and the funny
pigtail wigs, in spite of the fact that all
the picturesque old boats are respectfully
and nautically called "she," the whole
place reeks of dominating, virile mascu-
linity, looks, listens and smells masculinity.
It feels like Eugene O'Neill's earlier days,
reeking of hard-boiled, realistic he-man
stuff, of John Masefield's raw-meat sea
poetry, of Captain Marryat's salty old
yarns, of Conrad and McEee.
And this young Ferrell that plays The
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ITS FUN MOUNTING SNAPSHOTS
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A Costly Vcntuic
mi ii reminds ib • ■) Chai li' I
irtship "i Miles Standish" and the
minus hopes i and wealth
• tin
. v\ hich pi oved such .i moui n i ul
failun ! It ought i<> have I" en a sui
but somehow just missed it I donl
lieve "i 'lil Ironsides" is going to miss a
thing. It is going to coat like tin
ns. hut I think they know what the)
.11 C d'
\ wonderful contrivance has been con
I ior the placing of the cameras out
beyond the stern "i the boats, for getting
the scenes out at sea of every l>it of
wildl) exciting action. It is a built out
scaffolding equipped with swinging weights
that kei'p the camera erect no matter how
much the boats rock and gosh, how those
old sailing \ essels can rock I
There are almost no subtitles in the film
and, because the actors hear their own
names in the story, there will he few screen
credits necessary. But I suspect the world
is going to be allowed to know that Harry
Cart conceived it. James Cruze directed it.
and the Laskv Studio produced it— and that
it is all about that selfsame dear "Old
Ironsides" which Secretary Wilbur of the
United States Navy is going to have re-
stored if the school children's pennies come
in bountifully enough.
Ah, yes. and a whispered confidence. If
those pennies do lack being sufficient for
the great purpose, you can wager your
in dollar that the Famous Players-
Lasky Corporation will make up the deficit.
But that, of course, is sub rosa. It did not
prevent my letting my boys take their
pennies to school.
The Truth About Film
Salaries
{Continued from page 70)
it can he estimated at least at $100,000 a
picture. Henry King is receiving this fig-
ure for each of his productions. George
Fitzmaurice gets $75,000 a picture. Ernst
Lubitsch recer 0, altho the Warner
brothers have asked $100,000 to loan him.
Eric von Stroheim was getting $15,000 a
picture when he made "The Merry Widow."
Xow he has climbed to $50,000 a produc-
tion. What a difference one hit makes!
King Vidor is receiving considerably in
excess of $2,500 per week since the hit
of "The Big Parade." Clarence brown
is climbing past the $2,500 figure. James
Cruze gets $8,000 a week and has received
this ever since the success of "The Cov-
ered Wagon." Sidney Olcott was getting
$3,700 from Famous Players. He is new
receiving $2,500 from Inspiration Pictures.
Robert Vignola gets $2,500. So, too, does
Monta Bell and Malcolm St. Claire. Harry
Pollard recer 0. William Seiter
gets $1,500. Alan Dwan runs to $60,000
a picture, plus a bonus for speed. Dimitri
Buchowetzki gets $30,000.
A year ago, when he left Famous
Players-Lasky, Cecil De Mille was one of
the hig ten money-makers. As director-
general of his own producing organization,
it is doubtful if he made an equal amount.
It costs a great sum of money to launch
a new organization. This coming year we
wouldn't be surprised to see De Mille re-
turn to the big money.
<
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87
Her Royal Highness
(Continued from page 31)
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Oepartfn.ent iOl \ Y SOUR LAKE TEXAS
observed, as she led the way over flag-
stones set in the velvet grass.
They succeeded. It is like Keats'
garden :
"Where the daisies are rose-scented
And the rose itself hath gut
Perfume which on earth is not "
Began as a Vamp
\Y/f. were hack on the daffodil yellow of
tlie twin sofas that face eacli other
across the hearth, talking about the begin-
ning of pictures for her. She entered the
magic country by way of a beauty contest;
her first important picture was Elinor
Glyn's "Six Days," her first big success,
"I Hack Oxen."
"I began as a vamp," she remembered,
with a glint of amusement in her blue-
green eyes. "I used to die tragic deaths
in order that the virtuous might triumph.
One of those deaths came near being
actual.
"We were in Truckee, in a deep snow.
My death was to occur on a toboggan on
which the villain carried me to a watery
grave under the ice. First, they wanted
to get close-ups showing my terror when
I realized his purpose ; so director, actors
and cameras were all crowded on the sled,
which was attached by a rope to a team
that was to pull us to the top of the slide.
"The rope broke when we had almost
reached the top and we went careering
down backwards. How we stopped I dont
know, but we did stop, and presently the
villain and I were on the toboggan together
headed for the river far below. The plan
was to stop before we reached the river
and let doubles do the crashing thru the
ice, but plans are apparently nothing in a
toboggan's life. It was the villain and
I who went crashing thru the ice, and we
were half -drowned when they fished us out
again !
"But I was much more frightened one
day in Honolulu when I was out surf-
bathing and the native boys began to shout,
'A shark ! A shark !'
"I can stay up in deep water, but I
dont swim well enough to get anywhere.
In all the hullabaloo over the shark, I
swam steadily and got about ten feet in
half an hour. Then the boys realized I
was terrified and took me to shore on a
surf-boat.
" 'He wont touch us — he wants white
meat !' they kept saying, but that didn't
help me a bit. / was white meat!"
Tolerant Husbands
It was just after the making of "Black
Oxen" that Miss Griffith changed her
name in private life to Mrs. Walter
Morosco, hut there has never been any
question of giving up her career.
"With some husbands, pursuing an ab-
sorbing occupation might be disastrous,"
she admitted, "but a woman with an am-
bition should be careful to select a man
who has a tolerant attitude toward her
career. It sometimes seems to me, too, that
it is well not to let a man feel that a
woman is absolutely dependent upon him."
A truly royal way to look at it !
Royal, too, is Miss Griffith in her choice
of favored colors. She loves purples in
all their shades, because "they make me
feel so regal.
"Colors affect most of us, I think. I
remember in one picture I made the di-
rector had all the sets in gray. At first
I thought it rather restful, but before the
picture was finished we were all dragging
our feet and feeling depressed and dis-
spirited.
"Tatiana is to 'blossom in purple and
red.' In spite of hating to leave my house,
I'm going to love doing her. I've always
had a little secret hope that after all they'd
find out she wasn't murdered. I wouldn't
be surprised even now. ..."
That Personal Appearance
""The girl who is going to create Tatiana
made her first personal appearance in
Elizabeth, New Jersey, when she was very
new to the screen. She had bought a new
dress for the affair, her very first smart
gown, and she had spent nervous hours
before tlie glass assuring herself that she
knew exactly how to wear it.
The great moment came. The manager
of the theater went before the curtain and
told the audience about the young actress
who had come there to meet them, etc., at
rather greater length than seemed neces-
sary to the girl who waited in the wings.
Then he came off, handed her on, went
to the switchboard with the intention of
increasing the footlight power, and turned
them off instead. The lights in the audi-
ence went on and from the shadowed stage
Corinne Griffith made her little speech to
what seemed like ten thousand faces — the
very smart gown and the beautiful girl
inside it nothing but a blur and a voice
in the dark.
But I think that with only the clue of
her voice it should not be hard to imagine
Hollywood's real princess.
The Answer Man
(Continued from page 71)
October 26, 1914. His right name is
Edward Gibson and not Hoot. Baby
Peggy was born October 26, 1918. Yes,
it would be fine to have her play opposite
Jackie Coogan.
A. M. K. — Well, I guess someone evi-
dently was playing a joke on you. The
picture is very good-looking, and I wish
you luck on the screen.
Dorothy M. — No, I wont desert you —
I'm always on the ship. Adelina Patti was
born in Madrid, Spain, in 1843, but was of
Italian extraction. Her debut took place
in London in 1861 and she lived at Craig
Nos Castle, Wales. She never appeared in
pictures. Alice Joyce is playing in "Beau
Geste." She is one of the old-timers and
is holding on very well indeed.
Leom B. — I have the list of stars you
wish gallery pictures of and shall send
them along to our editor.
Youngs-Honolulu. — Your letter was
great. You say Miss Windsor is quite
neat and shockingly smart. Only the un-
wise claim to be wise. The wise are con-
tent otherwise. (Continued on page 89)
88
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They Told Buster to Stick
to It
ntiiiuctl from page
after Keaton had begun t"
irn himself in I ioll\ wood. Kmei i< a
tered the World War. Joi l; the in
\. in- went i" France and
,i private iniiil the Armistice, after which
he was detailed to help entertain the
troops, remaining abroad foi five months
follow ing the end of hi istilities.
Finally returning from France, Bu
spent tome time in a New York hospital.
Ills hearing had been affected, and when
Joseph M. Schenck, producei of the pic
lures in which lltistei had appeared,
ited the hospital to tell the young come
dian that .1 job awaited him in Hollywood,
the conversation had to be carried on in
writing.
Physicians soon restored Bustei to noi
mal ; he went hack to the Pacific Coast,
played in a couple of two-reel comedies,
and then was .starred in feature-length pit
tures
The rest is recent history. Even his
severest critic will admit he ".stuck to it
and became a great comedian."
Flash Backs
(Continued from page 45)
idiot when his daughter went away in the
wicked city, and it might have had poign-
ancy if Seastrom hadn't cluttered it up
:cilh bunk sytnbolisnt and turgid direction.
These two faults paralyzed the acting.
The result was cardboard pathos.
The Answer Man
(Continued from page 88)
Dixie. — Last I heard of Ivor Novello he
was playing in England. Richard Dix is
at the Famous Players Studio, Astoria,
Long Island. No, he is not married. Do-
lores Costello is very popular. 1 remem-
ber her, too, when she was a little girl.
Elsii I ., London. — So you are a ste-
nographer and want to come to New York.
I'm afraid I cant help you. Jackie Coogan
is coming hack in the role of a jockey in
an exciting and thrilling racc-liorse drama.
He is to have his own "grown-up" leading
lady and has had his hair cut like a real
hoy's.
Maky C. K, — You ask, why arc ships
called she? Well, because they always
keep a man on the lookout. William Boyd
is at the Cecil de Mille Studios, Culver
c'itv. California. Lloyd Hughes was born
October 21, 18W. lie is six feet, 155
pounds and has brown hair and gray eyes.
KaTIE C. — So you are a baseball fan.
So am I. Did you see what the Dodgers
did to the Giants in the opening game?
William Collier, Jr., is with Famous
Players-I.asky, 1520 Vine Street. Los An-
geles, California. Pola Xegri's picture,
"Naughty Cinderella." will be released as
"Good But Naughty."
John 1!.. New Haven. — Sorry, but I
haven't any information about Mickey
Mclnin. You might consult Movie, Jr., in
Motion Picture Magazine.
Blue Jay. — Ruth Roland is not playing
in pictures right now. Thackeray is the
well-known English novelist who signed
himself Michael Angelo Titmarsh. I
should say Nita Xaldi is very tall — she is
over five foot eight.
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She Wants to Succeed
{Continued from page 37)
"At last I was sent for. Mr. Brewster
was sitting at bis desk. He didn't look
up. lie said: AVell, I guess you win!'
I nearly fainted.
"Business was bad that year and most
of the companies weren't working. My
prize was to be a contract for one picture
and we had a hard time finding the pic-
ture. At last, Christy Cabanne said he'd
use me as a little sister in a picture he was
making. They wrote the part in and I
went over.
"1 didn't know how to make up. I'd
always been made up for the tests. The
girls 1 dressed with wouldn't show me.
Mind out for yourself, the way we did,'
they said. 1 was dark and they were fair
and I imitated what 1 saw them do and
was all wrong. The director swore at me.
I sat around the set for a week, doing
nothing. Then I had three days' work and
my part was over.
"When the picture was shown. 1 took
two girls I'd gone to school with to sec it.
I'd been cut out ! It nearly broke my
heart. 'I thought you were in it,' they
kept saying. . . .
"Nothing to do then but go back to
school. I couldn't stand it. I made myself
sick worrying about it and I suppose I
lost weight — and besides, I grew a little.
Then "Down to the Sea"
"ETinally Elmer Clifton, about to start on
* 'Down to the Sea in Ships,' happened
to see one of my test stills. He wanted a
tomboy type of girl to do a part in the
picture. They called me up and told me
to come over.
"Well, I didn't know what they wanted.
I'd tried so long and I had heard people
say I was too young and too short all the
time. So I wore a dress I'd borrowed
from somebody a lot older, fixed my hair
sort of sophisticated and put on a lot of
make-up.
"When the man saw me he said : 'You're
older than I expected — you're too old for
the part.' I could have cried. I said :
'I'm not sixteen,' but he didn't believe
it.
"At last he said he'd send me up to New
England for two weeks at fifty dollars.
If I made good, I could stay. I was there
thirteen weeks.
"There's where luck came in. It turned
out to be a good picture ; it ran twenty-
two weeks at the Cameo Theater and I
got wonderful notices. If it had been a
flop, I might have been in Brooklyn
today."
Next, "Black Oxen"
The flapper in "Black Oxen" gave Clara
*■ her first big chance. She was a sensa-
tion. Her triumph in that picture made
B. P. Schulberg renew the five-year con-
tract he had been on the point of canceling.
But the sparkling little ingenue represented
an investment. An investment must be
profitable. Clara had to make a picture in
twelve days — very nearly thirty pictures a
year.
"I dont blame them for getting their
money's worth, but it made it hard to think
out the parts — I hadn't time — and I was
going back — until 'Kiss .Me Again' came
along. Lubitsch was a godsend. I learned
so much.
"Then our coming to Lasky meant a lot
to me. Good directors are what I need.
I want to learn and you cant learn from a
poor director. I've just finished my first
emotional part in 'The Runaway.' It was
better than a college course.
"I always read what the critics say. If
they dont like me, 1 always figure that it
might be true and I see that it doesn't hap-
pen again. I sit in the theaters where my .
pictures are showing and listen to what
people say. If four women say 'I dont
like her hair that way' or 'She's too tough,'
and two say it's all right, I take what the
four say and remember it for my next
scene.
"I study my pictures and other girls' pic-
tures to see how to get sympathy'. If
people dont like you, you wont get on. In
the stage-play, 'Dancing Mothers,' I saw
that the girl got no sympathy because she
played her drinking and smoking scenes
with a sort of 'This is my business — I have
a right to do as I like and I'll do it' air. |
I played her as a girl out for a new ad-
venture— sort of kiddish folly — 'I'm just
having fun' idea. When I said mean
things I tried to put over the idea with a
look after I'd said the thing : 'Oh, why-
did I say that ? I didn't really mean it.' "
The "Little Roughneck"
The "little roughneck" has her first two
weeks' vacation in years. Imagine how-
she spends it ?
She has a French teacher and a Spanish
instructor — from each of whom she learns
the desired language in conversation as
she hikes over the hills of her home canyon.
She rides, too.
Exercise keeps her slim — for her ambi-
tion. She never wears a hat — her hair
must be kept in good condition — for her
ambition. She reads almost feverishly.
She must catch up with lost education —
for her ambition !
She hasn't time to bother with love now.
"I dont see how that silly rumor about
Donald Keith and me ever started," she
cried, bouncing up on the cushions, her
curls flying like banners about the rose of
her face. "We played together in New
York and I suppose somebody thought it
would be good publicity. We didn't know
a thing about it until Donald was called on
long distance by the girl he's engaged to
marry. She thought he had been deceiv-
ing her. The boy I'd been going with here
had a hemorrhage when he heard it.
"I used to think I'd marry outside the
profession when the time came, but I've
changed my mind. They dont understand.
They're jealous of the men you play with
and they dont believe it when you are late
because you have to work at night. And
when it comes to a love scene
"When I'm working with a man in a
love scene, I never think of him as a per-
son. He's just a prop I'm using. I am
conscious of the camera, the angle of my
face, the lighting and my chance of get-
ting sympathy — his kiss might as well be a
sponge in a bathtub sequence.
"If it comes to it some day. I'll take
an actor, a producer or a director. They
know a screen lover is just so many inches
of skin and pounds of bone.
"I'm never going to give up the screen.
I have to have an outlet for all this energy.
I can pour it into pictures — and I love pic-
tures ! You wait !"
The top of the heap seems to be waiting,
too, expectantly. I think it wont have to
wait very long.
90
They Say —
( l ',<•/!■ 8)
urli as I deplored tin- fact,
i do .imtliiiiK different. Hut
M them what I thought ill the nih
I limit
died such i .11 1 anyone
In liostoil it is id >t "Supei
u\ sense luit is mcrelv ,i
illt tin m, perhaps .it the
iistance, nl the Usual va
wish tn .ulil that the nine
have mentioned are ones I know
been in them. fhcre are tnauv
other places in C.reater Huston
I would never net to ()| i ourse,
I have not mentioned .ni\ of the leu it i
rc theaters, .it' which there arc
\t present two oi them are
Parade" and "Stella
spcctivelv, at higher than usual
a etistom prevalent for the
showing of hij'ner productions. This
entirely outside niv argument,
i will understand.
What can we do to preserve the hi^h
dard of motion pictures and In I:
■ the work, money, time expended
talent of directors, producers and
worth vv hi lei-
It all lies in that nutshell and it is
crcly to he hoped that some one will
find a way out.
1 would like to broadcast my senti-
ment-. Perhaps Classic, which is a
ne I admire and rely upon,
will publish some of my ideas. In my
humble opinion, we cant start our propa-
ganda too soon !
\ ery sincerely,
E. M. S.,
Brook line, .Massachusetts.
The Celluloid Critic
(Continued from page 83)
gets work in a circus and becomes
an aerialist. There is a villainous lion-
tamer who seduces the girl. The man's
wife shifts the mechanism of a trapeze and
Mary falls from the top of the circus arena
into the lion's cage. She is saved, but the
fall cripples her.
The war conies. The boy. Carl, is in
the German army. With the return of
he searches for Mary, finally finding
her. Then he starts out to wreak ven-
•e upon her betrayer. The lion-tamer,
ver, has been blinded in the war and
w a penniless peddler. So Carl gives
«P his ideas of vengeance. He returns to
Mary on Christmas Eve and — lo — she can
walk. A miracle has occurred.
This is obviously a story belonging to the
generation of pictures. If an unknown
it to a producer, he would yet it back
' ter. But because the story comes
vvn decked out with what we call the
Mental treatment and plus a dash of
lism. the critics look upon it as some-
thing to be praised.
There are moments of effectiveness, par-
ticularly when Carl finds Mary after the
ns years of the war. This is because
of the admirable acting of Norma Shearer
and Charles Knimctt Mack. Both these
players are excellent thruout "The Devil's
is." But if there is any worse screen
g than that of Carmcl Myers as the
lion tamer's jealous wife, I want to be
warned in time to avoid it.
A SALE BY MAI L
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i>o That Charleston, Dinah Charleston Pos Trot
Remember Tenor Solo
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I Wlsh't I Was In Peoria Vox Trot (Vocal Chorus)
Show Me the Way to Go Home Fox Trot (Vocal Chorus
Then I'll Be Happy Fo* Trot (Vocal Chorus)
Sometime. Waltz
The l.onesomest Girl In Town Baritone Solo
Down Behind the Hill Baritone Solo
That Certain Party Male Duet
Walt Till the Sun Shines Again Tenor Solo
Bam Bam Bammy Shore Foi Trot (Vocal Chorus)
PUFF Charleston
* iVaCjEj Dance Instructions
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91
What Does it Cost to go Into
the Movies?
I
S the motion picture profession a paying one for the
beginner? Is it possible for a young man or young woman
to become self-supporting by doing "extra" work? How
much financial capital should an ambitious beginner have in
order to test his or her talents in the movie studios?
Mignon Rittenhouse, an experienced newspaper writer,
has investigated the working conditions in the New York
studios. She has made a study of the thousands of "extra"
players in and around New York who are trying to make a
living from the movies.
In the July issue of MOTION PICTURE MAGAZINE,
Miss Rittenhouse will tell you all about the conditions that sur-
round "extra" work in New York. It is a fair, impartial
survey, written by a girl who knows her subject intimately.
Be sure to read Miss Rittenhouse's article in the July issue
of MOTION PICTURE MAGAZINE.
How Do They Become Stars?
What is the trick of personality
that lifts one actor above another in
the race for fame? Why are some
players popular for years while
others enjoy only a brief period of
fame? What are the new styles in
favorites? Jesse L. Lasky, vice-
president of the Famous Players-
Lasky Corporation, talks about this
starring problem, as it is viewed by
the business men of the companies,
in the July issue of MOTION
PICTURE MAGAZINE.
More About Jewels
You have enjoyed "Twinkle,
Twinkle, Little Star," by Holmer
Little in this issue of MOTION
PICTURE MAGAZINE. Mrs.
Little will continue to write about
this fascinating subject in our July
issue. Watch for her article next
month. It tells you about the jewels
owned by Marion Davies, Norma
Talmadge, Aileen Pringle and May
McAvoy.
And Also
More of Eugene V. Brewster's
"Impressions of Hollywood," will
appear in our July issue. And there
is a fascinating story on Screen
Tests, written by Selma Robinson.
Sara Redway and Laurence Reid
have contributed humorous articles.
Be Sure to Take
MOTION PICTURE MAQAZINE AWAY WITH
YOU ON YOUR VACATION
92
EDWARD LANCER PRINTINC CO., INC.,
JAMAICA, NEW YORK CITY.
Every-day magic
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nothing!
Uncanny, daily magic — this, due to national
advertising. Advertisements have given you flash-
lights, telephones, typewriters, automobiles, cold
creams, motion pictures. They have given you new
eyes, new ears, new hands, new feet, new faces, new
emotions. They have urged such wide use, so
lowered prices, that almost wishes are autos. almost
beggars can ride. Through advertisements you've
laid down the shovel and the hoe. You can buy a
whole harvest ready-to-eat in cans. You've hung
up the fiddle and the bow, for a radio. There's
little old-time work left in this age of amazing
short-cuts.
C+J)
Read the advertisements — they keep yon
to the fore of modern life
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Then a dash of cold water. Pat the facj
dry "with a soft towel. If the skin i
inclined to be dry, rub in a little Co
gate's Charmis Cold Cream. Othe;
beauty secrets in booklet.
The peculiarly entrancing
fragrance of Cashmere Bou-
quet is obtainable also in
other Colgate toiletries.
-*k
// Established m
Brett Lithe
ACTION DICTVBE
A BHIWVtH MACA/INt
jloria Swanson's Own Defense of Herself
Will others he meets ™
outrival you in natural charm?
PALMOLIVE is a beauty soap
made solely for one purpose;
ro foster good complexions.
In France, home of cosmetics,
ii has supplanted French soaps by
thf score. In beauty-wise Paris,
Palmolive is the "imported soap.
Blended oi cosmetic oils, fa-
mous since the days of Cleopatra.
Palmolive is made 10 be used
freely; on rhe skin.
B eniember these fact;, when
tempted to risk an unptoved
•.oaf. on your skin.
The allure of natural skin beauty, as thousands
will tell you, follows a simple, daily care
TO be charming today, one strives for
natural beauty. All of modern beauty cul-
ture is directed to that end.
Every day, on every side, one sees the re-
sult . . beauty that stands in contrast to the
artificial allure of yesterday.
Skin care has become a simple matter, with
cleanliness and healthfully open pores its
basis. Natutal beauty thus is safeguarded and
protected.
The tule is one anyone can follow with
little effotr or bother . . . just the daily use
of the soothing lather of olive and palm oils
as embodied in Palmolive.
Natural beauty . . . the daily can
that fosters it is this:
Wash your face gently with soothing
Palmolive. Then massage ii softly into the
skin. Rinse thoroughly, first with warm wat
then with cold. If yout skin is inclined to
dry, apply a touch of good cold cream — th
is all. Do this regularly, and particularly
the evening.
Use powder and rouge if you wish. B
never leave them on over nighr. They cli
the pores, often enlarge them. Blackhea.
and disfigurements often folio* They mu
be washed away.
Avoid this mistake
Do not use ordinary soaps in the trearmc
given above. Do not think any green soa(
or represented as oi olive and palm oils,
the same as Palmolive.
And it costs but 10c (.he cake!- so lirtl
that millions let it do for their bodies wha
it does tor their faces. Obtain a cake toda\
Then note what an amazing difference on
week makes.
THK PALMOLIVE COMPANY (Del. Corp.), CHICAGO, ILLINOIS
P.ilmohve Soap is untouched by human hands until
)ou break the wrapper -it is never sold unurapped
You.Too, (an RealiioYour Dreams
Gives Physical Voice Culture
Credit for Grand Opera Voice
Each 24 hoars brinjrs me a stronger and hotter hold on
my voice. 1 feel like telling yoa of it each day when
I think back to six years ago when catarrh had just
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I Joined the Loe Angeles Opera Company this Spring
and we will have five Operas ready in September. It is
really pathetic to see the afar pupxlt from the qreatvoice
matter* try for a place in the Company. Some very
ntty. but weak, palate attarks, throat and lip attacks,
rork hard all day and your silent exercises are a.
wonderful rest.— Bert Longtre.
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More than 20,000 men and women all over the country have
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Read the lettersonthispagefrommenand
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very least, by Physical Voice Culture.
We absolutely guarantee 100%
improvement or your tuition will be
gladly refunded. You alone are
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Finds the
"Right Way"
I wish to give credit where
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years have been spent in pro-
fessional singing.
Believing that I had at last found
"the right way," I cancelled an
entire season's bookings to apply
myself diligently to your idea.
Today my voice 19 completely new.
Formerly. I could eing only a fair
"F" (fifth line). Now I can sing
high "B" flat, with a rich, reso-
nant, manly tone. — Harry Lom-
pierre.
Church Singer Delights Congregation
I cannot help but say "Thank God" for everything you have
done for me. As I sang in church yesterday people turned to
see who was singing.
I hope you will always think of me as one who has made a big success In
the work I chose to do.— Carolyn Baker.
Singer Triumphs Over
Discouragement
Did you think one year ago that I would now be singing
as high as high "C"? I am very sure that I didn't.
I often think of that hopeless first letter I wrote to you
and I want to thank you for the help you have given me
and especially for the cheering letters at the beginning
when I needed boosting along the worst way.
Hoping that you will believe me to be ever your grate-
ful friend.— Mrs. Mary Brown.
For obvious reasons the names signed to these letters have been changed. But
the letters are all true and the real names of writers will be sent on request.
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D Weak Voiet O Stammering
Q Singing Q Sptaking
Addrum.
Cits.
StaU
Cpammount
J"radt
M,
SE*«
zrnoons
K?>
T&.
IT>Vp
&
if
Paramount Pictures
you will enjoy
f >'
Raymond Qriffith in
"WET PAINT"
With Helene Costello and Bryant
Washburn. From the Story by
Reginald Morris. Screen play by
Lloyd Corrigan. Directed by
Arthur Rosson.
Richard Dix in
"SAY IT AGAIN"
With Alyce Mills. Directed by
Gregory La Cava. Story by Luther
Reed and Ray Harris.
A Clarence Badger Production
"THE RAINMAKER"
With Ernest Torrence, William
Collier, Jr., and Georgia Hale.
From the story " Heavenbent,''
by Gerald Beaumont. Screen
play by Hope Loring and Louis
D. Lighton.
Bebe Daniels in
"The PALM BEACH GIRL"
With Lawrence Gray. Directed
by Erie Kenton. From the story
by Byron Morgan and the play
"Please Help Emily."
Afternoons out at the Paramount show
are the happiest times of the week. Its
such a comfort to know— before you go
— that a good time's ahead ! The name
"Paramount" fixes that! The healthy
excitement of first-class entertainment
in a quiet, cooled theatre is a happy
program for any afternoon. Why not
this afternoon? Arrange a date over
the 'phone with your friends. Paramount
puts a touch of romance, "a castle in
Spam," into any day!
If it's a Paramount Picture it's the best show in town/"
Produced by FAMOUS PLAYERS "LASKY CORP, Adolph Zukor.Pres., New York City.
&$
COMPLETE RESULTS AND AWARDS IN YOUR OPINION CONTEST IN THIS ISSUE
'MOTION VICT I ' R /
tL^y
0<D
Vol. XXIII
JULY, 1926
No. 5
(jiariii SwMTlMOn
Agnes Smith
Notable Features in This Issue:
HE'S ELECTED !
ud I )i\ win! Bn « itei Popuiaril •. I
WHAT MY EXPERIENCES HAVE TAUGHT ME
Tin- -i.i i talks frankly ol hei marriages, her cartel and il"- i rltii i-m* ol i" ■
HAVE THEY GOT IT?
. ers tin- question
1 HE CENTAUR OF THE CINEMA Dan Ryan
Ton Mix is the tut >'i the Vanishing Americans
THREE MORE AUTHORS DISCUSS THE FILMS Henry Albert Phillip
The impressions ol VU ente Blaaco tbafles, u it Maxwell and William J. l.m ke
THE PACE THAT KILLS Fmith Setvio*
\ I oren Stout
FAME CAME TO CHAPLIN WITH BORROWED CLOTHES Bert Ennis
Tl»' inside stor) ol how the comedian borrowed ^rbuckli '■ panti and Ford Sterling') ■'"" ihi reby ." hievina iin
MORE IMPRESSIONS OF HOLLYWOOD Eugene V. Brew t, ,
Tin- editor-in-chief itlis ins further experiencei in tin- capital ol Blmdom
10
18
20
22
24
27
36
52
The Classic Gallery . 11 15
re Windsor, Norma Shearer, Owen Moore, Donald Keith and Alice J
Satan Himself 26
ill in "The Sorrows ol Satan
The Story of Rex Hal K. Wells 28
The Killer
The Love Scene Everett Shinn 30
ol drawings by the famous artist
A Blonde from Pittsburgh David Balch 31
Alyce \l ills « ins hex way to the top
She Reached for the Moon and Got It ! Alice L. Tildesley 32
Florence Vidor's promotion to stardom
Grand Old Men of the Films 34
They played with Booth and Barrett -Portraits of Frank Currier, Theodore Roberts, Alec Francis and Edward Connelly
She's from Alabam' Norma Johnstone 35
How Dorothy Sebastian's Southern drawl opened her way to fame
Publicity Problems Worry Cella Lloyd John Held, Jr. 38
The further adventures ol Mi. field's bathing-girl heroine
Results of Contest and Complete List of Winners 40
Cloudy- With Continued Showers ! 42
The Deluge
Carol Dempster (Portrait) 43
It's the Old Army Game This Soda Business 44
YV. C. Fields' latest film
The Costellos Ask You Over 45
Dolores ami Helene at home
Big Pictures and Little Ones Robert E. Sherwood 49
The ]>asi season's c.xtra-special-super features
Prop Boy to Star ... Alice L. Tildesley 54
Griffith made Charles Emmett Mack into an actor
Greta Garbo (Portrait) '. 56
The Kid from Cape Cod Mary B. Chapman 57
Charles Farrell's rise from an extra
"Up in Mabel's Room ! " 62
Showing Marie Prevost in Christie's bedroom farce
The CLASSIC'S Famous Departments
Our Own News Camera 46
The incidents of the rilm world told in pictures
The Celluloid Critic Laurence Reid 50
Tin plays in review
Letters to King Dodo Don Ryan and Frederick James Smith 58
An amusing series of letters upon i I celluloidia
The Answer Man 63
Cover Portrait of Richard Dix by Don Reed, from a Photograph by Russell Ball
FREDERICK JAMES SMITH, Editor and Managing Editor
Alice L. Tildesley, Western Editorial Representative Colin Cruikshank, Art Director
Sic comes out on the 12th of every month, Motion Pictire Magazine the 1st, Movie Monthly the 15th
Subscription $2.50 per year, in advance, including postage, in the United States, Cuba, Mexico and Philippine Islands. In Canada $3.00; Foreign
Countries $3.50 per year. Single copies 25 cents postage prepaid. United States Government stamps accepted. Subscribers must notify us at
nee of any change in address, giving both old and new address.
Published Monthly by Brewster Publications. Inc. at 18410 Jamaica Ave.. Jamaica, N. Y.
Entered or the Post Office at Jamaica, N. Y., as second-class matter, under the act of March 3rd. 1879. Printed in U. S. A.
Eugene V. Brewster, President and Editor-in-Chief ; Duncan A. Dobie. Jr., Vice-President and Business Manatee;
L. G. Conlon, Treasurer; E. M. Heinemann, Secretary.
EXECUTIVE and EDITORIAL OFFICES. 175 DUFFIELD ST., BROOKLYN, N. Y.
Hollywood Office. 6064 Selma Avenue. Phone Gladstone 3564
Copyriiht, 1926, by Brewster Publications, Inc., in the L'nited Slates and Great Britain.
_
Classics Late News Page
COSMOPOLITAN will film a motion picture
based upon Beatrice Fairfax's "Advice to
the Lovelorn."
Cecil B. De Mille liked H. B. Warner's acting
in "Silence" so much that he signed him for three
years.
Mary Philbin engaged to play the feminine
lead in "The Man Who Laughs," based upon
Victor Hugo's story, "L'Homme Qui Rit."
Gaston Glass arrived in New York to play
opposite Dorothy Mackaill and Jack Mulhall in
First National's "Subway Sadie."
Lillian Gish's mother has so improved in health
that the star will return from England to begin
work on "Annie Laurie," which will be made in
Hollywood. John Robertson will direct. It is
possible that Owen Moore will be Lillian's lead-
ing man.
May McAvoy has been signed to play the fem-
inine lead in "The First Brigade," opposite
Charles Ray. The film will be a Metro-Goldwyn
special and will be built around the life of a
fireman. H. B. Warner is also in the cast.
Norma Shearer's next starring picture is "Up-
stage," a story of the footlights. Monta Bell will
handle the megaphone.
Marion Davies has decided to star in a screen
version of "The Miracle." playing the role that
Lady Diana Manners created on the stage. Due
to her present production schedule, Miss Davies
will not start work
on "The Miracle"
for quite a while.
Premier Musso-
lini received Doug-
las Fairbanks and
Mary Pick ford in
a half-hour audi-
ence at the Chigi
Palace in Rome —
and expressed his
admiration for the
stars and the
movies.
William Haines
signed for the ro-
mantic lead in
"Tell It to the Ma-
rines," the George
Hill production
which will star
Lon Chaney in the
role of a leather-
neck sergeant.
"The Show-Off,"
from the George
Kelly play of the
same name, has
been started at the
Paramount Eastern
studio under the
direction of Mai
St. Clair. Ford
Sterling will be
featured and
Gregory Kelly who
has played leading
roles in many stage
LAST MINUTE REVIEW
"Aloma of the South Seas"
ASIDE from the personality and talent of Gilda Gray so
- capitally expressed in her film debut, this picture hardly
comes up to the mark. As a play it didn't create any emphatic
impression — and transferred to the screen it doesn't manage to
be very sustaining because of the absence of dramatic move-
ment and suspense.
As a result, its appeal rests entirely with the characterization
and the settings. The director, Maurice Tourneur, took the
company to Porto Rico, and having a good photographic eye he
succeeded in capturing some beautiful exteriors. The breakers
rolling in on the shores, the expanse of foliage and the atmos-
phere of Nature in her most generous mood — all of these lend a
pictorial quality which compensates somewhat for the short-
comings of the plot.
The idea is simply a romance of a native South Sea maiden
who grows to love a broken-hearted American — the latter exil-
ing himself in order to find solace for his unhappiness. There
is a native youth who has figured as Aloma's lover up to the
arrival of the American. When other white trespassers interfere,
the brown-skin boy suffers them to be captured by sharks —
who prefer white meat in place of dark. And thus William
Powell, who had caused the other American's tragic romance, is
exterminated. The girl who had innocently responded to the
villain visits the isle and becomes reconciled to the unhappy
youth — while Aloma turns again to the brown man.
The story is feeble, is always obvious and is minus any
dramatic punch. And aside from Miss Gray, Warner Baxter as
the native youth, and Harry Morey as a rough Yankee, the cast
has not been well selected. Percy Marmont, usually restrained
in his acting, is allowed to overemphasize his role. The picture
is wholly Gilda Gray's and she makes the heroine a whimsical,
wistful character. Her South Sea dance electrifies the audience
and her romantic moments are touched with sympathy and
understanding. Inasmuch as her acting registers a success, she
needs a story with a bigger "kick" in it than this conventional
yarn. L. R.
successes has been added to the cast. There is
a rumor that if his work registers O. K. in this
film he will probably be given the role of
Clyde Griffiths in Dreiser's "An American Trag-
edy," assuming that the novel will be produced.
Lloyd Bacon, son of the late Frank Bacon of
"Lightnin' " fame, has been signed as a director
by Warner Brothers. His first production will be
"Broken Hearts of Hollywood," which will fea-
ture Louise Dresser, whose Goose Woman has
made her one of the most-sought-after character
women in recent years.
Eric Pomrner, European director, is on his way
to Hollywood to take charge of Pola Negri pic-
tures. Pommer is the producer of "The Last
Laugh," "Siegfried," "The Cabinet of Dr. Cali-
gari," and several other pictures which have
never been shown in America.
Louise Brooks selected to play title role in the
Ziegfeld production, "Glorifying the American
Girl." Edward Sutherland, who will direct, is
busy assembling a cast which will include
William Collier, Jr.
Eddie Cantor, the comedian, will put "Kid
Boots" on the screen. Lawrence Gray will have
the juvenile role in the film while the leading
feminine roles will be enacted by Clara Bow and
Esther Ralston.
Having recovered from her illness, Gloria Swan-
son has returned to work on "Fine Manners."
Glenn Hunter to
return to screen in
"The Romance of
a Million Dollars."
Jacqueline Logan
will play the hero-
ine. Tom Terriss
will direct.
Harrison Ford is
now a featured
player for Metro-
politan produc-
tions. His first role
will be that of
"T he Nervous
Wreck," an adap-
tation of the suc-
cessful play of last
season.
"For Alimony
Only" is the title
of a new Leatrice
Joy film which
William de Mille
will direct as his
first effort on join-
ing brother Cecil
in the independent
field. Clive Brook
will appear oppo-
site the star.
Evelyn Brent,
who has been wait-
ing for a suitable
story, has been re-
warded with "The
Flame of the Ar-
gentine."
6
THEY SAY
A Practical Woman's Practical Hus-
band Enjoys the Romantic Actors
Editor, Classic :
In Edwin Meyer's letter appearing in
the May Classic, he revealed the re-
action of "every-day" men to specific men
players of our films today and to women
players en masse. I cannot help but be-
lieve that Mr. Meyers is too sweeping in
his statements. I shall use my husband
as one example. He is the most practical
of men without pretense or affectations
whatsoever. His friends include business
men, lawyers, doctors — yes, and news-
paper men! (He has no friends of the
Latin type who are spoken of as "sheiks"
by Mr. Meyers.) He is completely ab-
sorbed in the unromantic and very un-
idealistic business of buying and selling
cement. Pages and pages of his kodak
books are filled with pictures of cement
roads and bridges. I am positive that he
would immediately be included in the
category of every-day men. He even re-
sembles Conway Tearle to a remarkable
degree in features, coloring and physique,
while his mannerisms are much like those
of Milton Sills'. These are actual facts
and are not manufactured to make them
fit in with Mr. Meyers' words as to
"doubles."
Strange to relate, Tearle's presence in a
picture interests my husband not at all,
in fact, he is thoroly bored sitting thru the
type of pictures that Tearle, Sills or
Meighan is seen in. His greatest pleas-
ure is in costume pictures of olden times
and in foreign countries. He was de-
lighted with "Monsieur Beaucaire" with
Valentino, and "Scaramouche" with No-
varro. In fact, he spoke of the natural grace
and ease of these two so-called "sheiks."
It really would seem more logical that the
"every-day" type of man could forget his
humdrum business cares by seeing on the
screen types of men who did not remind
him of his business associates.
The case of my husband is not as upper-
most in my mind tho as is the simple fact
that America is and has been a great Melt-
ing Pot. There is a large group of
American men — yes, "every-
day" men — whose ancestors
were of the warm-blooded
races. Ah, so we need Melt-
ing Pot screen heroes, the
Valentinos and Novarros, as
well as the Meighans and
Tearles.
Mr. Meyers confesses that
the men want the women
players of the screen to be
"exotic, different, strange and
mysterious." And he pokes
fun at the feminine movie
goers for enjoying the "sheik"
type of hero. Well, you know
we women — including "every-
day" women — want the men
players of the screen to be
"exotic, different, strange and
mysterious ! !"
However, I fully agree
with Mr. Meyers regarding
Mae Murray's pout.
Mrs. A. Stiles,
Minneapolis, Minn.
Needed — Less Bunk and More
Realities
Editor, Classic :
Being a firm believer in the efficacy of
criticism in obtaining results in any field
of endeavor (including filmdom), I take
this opportunity of telling you that you
have adopted the right method in making
your criticisms in an outspoken manner ;
there are times when gentleness availeth
not.
My abode is in a town of 2,000 inhabi-
tants, more than one hundred miles from
our railway point. The sole source of
amusement for one who attends neither
dances nor parties, and I am in that class,
is the local movie house which gives two
shows on six nights every week. I have
been a patron of the movies for the past
twenty years, yet I do not attend six
nights a week here. The reason of this
is that each week we have what is locally
known as "howler nights" — nights on
which the audience consists mainly of
children and two-thirds grown hoodlums
who howl their heads off at the unspeak-
able silly heroics and antics of dude-glove,
Main-Street cowboys and gunmen who lay
out their enemies in lots of dozens and
pile 'em up in tiers. I and many others
go to the movies for entertainment and
relaxation, and not to be annoyed by
howling dervishes.
Of course, there are Western pictures
which are masterpieces of the films, and
there are screen players who are master
artists in the portrayal of Western char-
acters of both old and modern days. One
need think only of "The Covered Wagon,"
"North of 36," "The Pony Express," and
of Jack Holt, Bill Hart, Noah and Wal-
lace Beery, Ernest Torrence, Lois Wilson,
Betty Compson, Billie Dove, to be con-
vinced that the story of the West can be,
has been, presented in an intelligent man-
ner on the screen.
Recently a Western, a very good one,
was presented here two nights. The
manager of the local movie house told me
that this picture, "Wild Horse Mesa,"
took in barely enough to pay expenses.
The MOTION PICTURE CLASSIC is devot-
ing a page each month to the best letters from
its readers. The prize-winning letters for the
July number are reproduced on this page.
Fifteen dollars will be paid each month for
the best letter, ten dollars for the second and
five dollars for the third. If two or more let-
ters are found of equal merit, the full prize
will go to each writer.
Letters must be constructive and interest-
ing. They must deal with pictures or screen
personalities. And — please note — they should
be typewritten.
Yet it was a splendid film, with three of
the major stars — Jack Holt, Noah Beery,
Billie Dove — in the leading roles. Never
have 1 seen Billie Dove play with greater
loveliness and sincerity (and I have often
seen her on the screen, sometimes in plays
worthy her great talent and sometimes in
plays unworthy) ; Jack Holt was at his
best, and Noah Beery played the villain
so realistically that an old lady sitting
beside me remarked, as the Indian was
aiming his rifle at the fleeing Noah : "Oh,
dear, he'll miss that devil." I saw the
play both nights, and enjoyed it as much
the second night as I did the first. Yet
the play lacked deserved patronage here;
you see, it was above the heads of the
hokum-loving beholders of the cheap bunk
termed "Westerns."
I am strong in the faith that the movies
will attain a higher level of uniform ex-
cellence. The consummation of that wish
may be slow in arriving, but it will come.
And when it does arrive I hope that the
villain - devastating, dude - glove, chasm-
leaping, smirking abominations masquer-
ading as portrayers of the Western char-
acter will be scarcer than feathers on the
back of a newly hatched rainbow trout.
Improvement in the movies necessitates
elimination of bunk, and the abominations
mentioned are just that — bunk.
There are other features now prevail-
ing in filmdom which will not be missed
when they disappear. One of these is the
carrying and caressing of pet dogs, mon-
keys, cats, and other four-footed, pam-
pered, flea-harboring pests. Audiences
are not interested in pooches and simians.
If it is proper to carry them about in
ordinary plays, then it would have been
proper for Estelle Taylor to have car-
ried a pup or a monkey around while
playing in the "Ten Commandments," and
hand him over to Theodore Roberts now
and then to hold, while he was portraying
Moses. At that it would have been an
event of note to have seen the grim face
of Theodore Roberts if this had happened.
It is a certainty not many of the com-
mandments would have remained intact.
Often have I thought of some portray-
als on the screen I would like
to see. Would like to see
Noah and Wallace Beery' in a
play surrounded by children
and flowers, peace, not a gun
or a cartridge-belt in sight ;
would like to see Betty Comp-
son, Lois Wilson and Billie
Dove in more of the "home-
spun" characters they know
so blessedly well to depict ;
would like to see Jack Holt,
Ernest Torrence. Bill Hart,
in more of their characteristic
stuff ; would like to see the
inane so-called comedies used
as openers displaced by two-
reel short stories of the
screen ; would like to see a
real screen play based on the
Spanish- American War (that
war which is lost in the mem-
ory of most people) ; would
like to see more of real life
realistically depicted on the
(Continued on page 75)
S
Most Astounding Beauty .
Miracle of the Century l
'Marvelous!" *'l cannot believe mj eye9!M "It's
tlu- most astounding thing I've ever seen!" "How in
the world is il possible '"
These ar«.- some i>i the exclamations that broke from
the lips of onlookers who recentlj wit i 'lemon
strarion of the new discover) that is hailed as the most
amazing beauty miracle of the century.
Think of it! \ new complexion while you wait!
Your skin made young in fifteen minutes! Blackheads
and enlarged pore- entirely eliminated! Flabby,
ring muscles toned and restored to firm contours!
\\ nnkles combatted ' \\ as ever so wonderful a beauty
treatment known before?
And what magical compound do you suppose brings
these incredible result-? MILK! Yes, the .secret
lovely skin lias been discovered in the natural, beautify-
ing properties of milk. < )f course, milk in its ordinary
liquid form is not concentrated enough to show marked
results Its special beautifying elements had to be ex-
tracted and put into concentrated form, combined
with other ingredients. It was only after countless
experiments
that the true Magic Formula was found.
The Mack Mule Mask
(Trade Mark Applied For)
Milk has always been known as a com-
plexion beautitier. The famous actress, Lil-
lian Russell, and other renowned beauties,
used the milk bath treatment.
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lifting the Curtain on a New Season of
First National Star-Successes!
First National Pictures Inc. presents
MILTON SILLS
in a "best-yet" part .... A love-avenging
soldier- husband who stakes wife and
life against the cowardice of his betrayer.
Hold your breath for the climax of
PUPPETS
Adapted from the play by FRANCES LIGHTNER
— because this smashing scene will take
your breath away! .... Brilliant pro-
duction and a splendid cast
With^GERTRUDE OLMSTED
Directed by ^GEORGE ARCHAINBAUD
Production Management «n. «>» •v. «v. AL ROCKET 1'
The strangest triangle ever drawn
by Fate .... Drama that plays tug-
of-war with your emotions ....
Scenes and situations entirely new
in pictures!
BROTHERS. . . . and one must die by
the other's hand!
Which would claim the fatal knife? —
A coin-toss to decide!
3iiat national Picture
10
Bull
CLAIRE WINDSOR
MOTION PICTURE
Cs= — *2
J U L Y. I 9 1p '
NORMA SHEARER
L arse J
DONALD KEITH
Carsey
I
Muray
ALICE JOYCE
In many ways
Richard Dix's life
story parallels that of
Harold Lloyd. Like
Lloyd, his rise in pop-
ularity has been
*""" steady, slow and sane.
He made no sudden
success in a big, spectacular picture.
Like Lloyd,"his work has been con-
sistently good and consistently satis-
fying also. His career has been a
steady record of improvement. Also,
like Lloyd, he has no enemies — only
friends. Stars may be unmade by
their enemies within the business.
Neither Dix nor Lloyd has anyone
to fear.
THE readers of the Brewster Publications have voted
him their favorite actor.
For months, more letters
about him have reached the editors
of the Brewster Publications than
about any other player on the
screen.
And, for months, not a single
adverse criticism from a "fan" has
been registered against him.
No wonder, then, tha
Richard Dix gets a place on
Classic's cover.
There are all kinds of
screen popularity. There
are stars who put on a pin-
wheel display for a year or
so and then burn out.
There are stars who "get
by" because they happen
to be in the business and
because the public doesn't
care violently enough about
them, one way or another,
to ask them to leave.
Stars Who Mean Something
A nd then there are the stars
who mean something to the
public — Fairbanks, Mary Pickford,
Harold Lloyd, Norma Talmadge
and so few others that you can
almost count them on your fin-
gers. It is into this select circle
that Richard Dix has stepped.
And he landed painlessly and quietly, without agitation
or propaganda.
In a great many ways, Dix's story parallels that of
Harold Lloyd. Like Lloyd, his rise in popularity has
been steady, slow and sane. He made no sudden success
in a big, spectacular picture. Like Lloyd, his work has
been consistently good and consistently satisfying. Also
his career has been a steady record of improvement.
Again like Lloyd, he has no enemies — only friends. Stars
Richard Dix has scored
the Indian hero of "The
He's
Elected/
By
Carol White
may be unmade by their enemies within the business.
Neither Dix nor Lloyd has anyone to fear.
The story of Richard Dix's rise is an undramatic,
unspectacular, but pleasant record of achievement. He
was born in St. Paul of well-to-do parents. He grad-
uated from the St. Paul Central High School and then
attended the University of Minnesota for one year.
Almost a Surgeon
ryx's father wanted him to be a surgeon, but the boy
was mostly interested in sports and dramatics. He
was a good football player, a member of the baseball
team and a fine amateur boxer. And he also played the
leading roles in the school and college dramatic produc-
tions. But the thought of going on the stage didn't enter
his mind, until a few unhappy circumstances forced him
to decide upon a career for himself.
Just as he was preparing to study medi-
cine, he visited a clinic with his elder
brother, who was a surgeon. And
he watched three operations. The
sight of blood sickened him and
he felt that he never could be-
come a doctor.
And then his father suf-
fered financial reverses. Dix
realized that, if he wished
to continue at college, he
would have to work his
way thru. He got a job,
at a small salary, with a
summer stock company
playing in St. Paul.
His success was greater
than he had expected. It
was, indeed, greater than the
manager of the company had
expected. Altho he only played
small parts, he drew large audi-
ences. All his classmates at high
school and college watched his career
Ba" with breathless interest.
his biggest success as Started in Stock
Vanishing American
Cor the newspapers of his town,
* he was a good story. It was
another case of a "local boy making good.'" True, he
knew little about acting and, true, his parts were only
minor ones. Nevertheless, he was a home-town boy with
plenty of friends and his presence in the company added
new interest to the performances of the stock company.
The small, local success looked very big to Richard.
He was terribly and almost pathetically serious about his
work. Every performance was an event; every new role
— no matter how small — was a momentous undertaking.
16
Richard Dix Wins
Brewster Popularity
Contest
The managei and his fellow players gave
him some encouragement. He had his salarj
raised once during the season and several of
tin- actors urged him to ^o to New York, it
he wished to keep on with his own career.
I>:\'-. arrivaJ on Broadwaj was the old
v of small-time talent in a hi},' town. He
had very little money and quite a tew notions
about breaking into a New Vork production.
All in all. he was one of the greenest be-
ginners ever to land on Broadway.
Reaches Broadway
j \ the tir.st place, he was hacked by no family
tradition. None of his relatives ever had
been on the stage. He had little experience
and no slant on the theatrical situation. He
was just a nice home hoy from the Middle
West and he knew less about the world than
the average ten year-old East Side kid.
It didn't take Richard long to find out that
he hadn't a Chinaman's chance of breaking
into a New York production. Considerably downcast, he
decided to look for work in a stock company. None of
the directors of the stock companies seemed particularly
eager to engage a beginner.
Finally, after months of waiting, he was overjoyed to
get an engagement in Pittsburgh at thirty-five dollars a
week.
In spite of a small salary and repeated assurances that
he was the rottenest actor in the world,. Dix stuck to it.
It was, after all. a happy, care-free life, except on the
days that the rent came due.
Then Came Tragedy
Dut then two tragedies came to him that forced him to
settle down to business in grim earnest whether he
liked it or not. His father and his brother died and
Richard found himself the head of his family, with a
mother and a sister to support.
It was his first experience at accepting real responsi-
More letters come to the Brewster Publications about Richard
Dix than about any other player. Left, Dix in his first prominent
role — John Storm in "The Christian"
bility and he went at the task manfully. In those few.
bitter years of poverty in New York his character was
formed. He learned the lesson of self-sacrifice.
The struggle was hard while it lasted but Richard
emerged from it with some valuable assets. He had
acquired self-control, a sense of responsibility, and a
capacity for hard work.
The turning point of his career came when Oliver
Morosco gave him a job in his Los Angeles stock com-
pany. After a short time with Morosco, Hollywood dis-
covered a new leading man. Richard began to make pic-
tures and he began to make friends. Stardom sneaked
up on him — altho his great work in "The Christian" gave
him the final push.
Just Regular !
The insidious blight of success never has touched Rich-
ard in any way. He owns no polo ponies, neither has
he a fur-lined bathtub. He has no social ambitions to pal
around with the Prince of Wales. His salary ic not
enormous ; in fact, he might make four times as much and
still be worth it to any company. He lives well, but not
extravagantly. A new suit is still something of an event
to him. He doesn't care much for show or swank.
Dix isn't married but he has no prejudices against the
institution. He's afraid of making any mistakes and he
doesn't believe in divorce. He is burdened by an old-
fashioned devil, called Conscience, and works hard on his
pictures. And, last but not least, he is one of the few
actors on the screen who think in the terms of achieve-
ment, not money.
17
What My Experiences
By
Two glimpses of Miss Swanson in pictures which
revealed a distinct progress. Top, "The Humming
Bird," and, below, "Beyond the Rocks" with
Rudolph Valentino
*f-8-
I DO NT know whether my father guessed that I
would become an actress. Certainly he couldn't
have given me better training for my profession if
he had. He told me often : "No person can be a
greater artist than he is a human being, because all art
is based on an understanding of humanity."
He impressed upon me the need for experience if I
was to understand people, tho he didn't tell it to me
exactly that way. I cant remember how he taught me
these things, except that he made me feel them. I
learned somehow that it was wrong to whimper when
I hurt myself and the hurt had been brought about by
my own will. I learned that that will was something
that belonged to me and must be cared for so that it
shouldn't grow into spinelessness on the one hand, or
obstinacy on the other. I learned that when I had
little problems, I must figure out for myself which
way to act, not ask my parents to decide them for me.
tho they would be always ready and glad to talk them
over with me.
Her Father's Influence
[ had no brothers or sisters, and father lavished upon
me all the companionship he would have given a son.
There were long walks with him, and long talks. Even
when I was very young, he would talk with me not as
tho I were a child, but a thinking individual ; neither
he nor my mother encouraged me to talk- baby talk
nor answered my questions with the air of bantering
fantasy that many parents adopt toward their children.
But the most important part of my early training
and the one for which I am most grateful was my
father's insistence that I take all things that come my
way.
"There isn't an experience in the world that, cant
do you some good. You can learn something from
everything you do and even the most foolish experi-
ence can teach you not to repeat it," he said. Could
there be any better training for an actress or a writer
or any person whose profession is the portrayal of
human emotions ?
He gave me such a respect for experience that I
prayed I would have all sorts of adventures — ship-
wrecks, tornadoes, fires, earthquakes, almost fatal ill-
nesses— so that when I died, I would at least have
tasted life. Tho many of those childish wishes have
come true, I still pray that I may taste much more of
life than I have already known — that new friends, new
work, new places will open themselves to me.
Painful Experiences
'There have been many times when I felt like run-
ning away from some of the experiences I have had,
but I realized that that wouldn't help matters much.
Besides, I was always curious to see what the lesson
would be, what nugget of wisdom I could rescue from
the debris. Lots of times, I must confess, I learned
nothing and lots of other times I discovered truths
18
Have TAUGHT ME
The Star. Talks Frankly of Her
Marriages, Her Career and the
Criticism of Newspapers
that will he of service fur the resl of rm days. For this reason, 1 hate
to Speak of having made mistakes: I think of them as unfortunate or
unhappy experiences, and let it go at that
( >iu- of the first lessons I learned was to be extremely circumspect and
:\ or do anything that might reflect against me. Actresses are so
Rnich in the public eve, especially movie actresses, whose features are
known in every town of the country, that what they do is naturally of
greater interest than
the actions of Miss
Jones or Mrs. Smith.
Newspapers realize
that actresses make
good "copy" and
they will give more
space to our doings
than to the average
woman's.
( ) f the newspapers
there is a small but
important minority
that prints "yellow"
news, facts slightly
off color, or perhaps
I ought to say facts
slightly too colorful.
You see, there is a tra-
dition about actresses
— that they're wild
and exotic, that they
should be ridiculed
or admonished when-
ever the occasion pre-
sents itself. I dont
suppose there's a hu-
man being in the
world, actresses in-
cluded, whose actions
could absolutely escape criticism, and the yellow journals are quick to
snap at little, unimportant fragments and develop them into national
scandals, if an actress or any other public character is involved. I dont
want to give the impression that newspapers as a class treat actresses
unfairly. Just a few do. but they can make themselves very unpleasant.
Most papers have been exceedingly generous and friendly toward me and
my work, and it is their kind, sincere criticism that has showed me how
my work could be improved. The reviews of my pictures in the news-
papers are mirrors where I can get a sane, unbiased conception of my
characterizations.
Newspaper Exaggerations
Actresses are said to do all sorts of impossible things and earn salaries
large enough to support a dozen presidents at the White House.
There have been so many exaggerations
about money in the motion picture industry
that another million or two wont matter
anyway. The same is true of the money
we are supposed to spend. That's only one
example of exaggeration. I could think of
dozens of others.
(Continued on page 85)
Says Gloria Swanson:
"One bitter but valuable lesson I
learned some time ago : The wisest
course is to keep my private self within
the four walls of my home . . . and
above all to be very careful not to say
anything that can be misconstrued.
"There is a tradition about actresses
— that they're wild and exotic, that
they should be ridiculed or admon-
ished whenever the occasion presents
itself. . . . The yellow journals are
quick to snap at little, unimportant
fragments and develop them into na-
tional scandals.
"I cant call my matrimonial experi-
ences mistakes. Nothing can be a
mistake that gives one a finer appre-
ciation of genteel qualities."
Progressive studies of
Miss Swanson. Top to
bottom: The star when
she left Cecil De Mille, in
"The Humming Bird," in
"Mme. Sans-Gene" and,
below, in her newest
photoplay, "Fine Manners"
19
Have THEY Got IT?
By
Agnes Smith
/N every good httle hoy
there is just a bit of Flo-
renz Ziegfeld. That is to
say, there isn t a man in the
world who doesn't think that
he couldn't Pick an A-No.-l
Beauty Chorus, if he were
given a good chance.
And in every little girl — good
or otherwise — there is just a
bit of the old Elinor Glyn.
There isn't a girl this side of
the Old Ladies' Home who
isn't sure that she can tell at a
glance whether or not a man
has IT.
Everybody s Talking About
IT
CINCE four out of five are
*"^ discussing IT, there isn t
any reason why we shouldn t
enter into a discussion of the
faults or virtues of those
charming gentlemen of the
screen, known as America' s
Dream Princes. We might as
well be frank about it at the
start; there will be no idle and
irrelevant talk of the artistic
abilities — ;/ any — of any of
these gentlemen. They will be
considered simply as movie
stars.
In the first place, there is
Richard Dix. The readers of
the Brewster Publications have
chosen Mr. Dix as their most
popular form of entertainment.
Dix is also called the "typical
American man."
The Typical American
JDUT that is the most arrant
sort of flattery — to the
typical American man. If Dix
were the typical American
20
William Potter
Richard Dix is the sort of man
every girl hopes to marry until
she's twenty-five, then she gives
up
Henry Waxman
Every girl knows there really is
no such person as Ramon No-
varro, the mythical and remote
Alelbourne Spurr
John Gilbert is hot stutt and
can look at a girl in a way that
is far from spiritual
man, there would be no de-
mand for thirteen and a half
collars, fat reducers, horn-
rimmed glasses or arch sup-
Porters. Every girl in the coun-
try knows that Dix is not the
typical American man — but
she wishes he were.
The secret of the Dix poPu-
lanty is really very simple. He
is the sort of man that every
girl hopes to marry until she
reaches the age of twenty-five,
after which she gets discour-
aged and takes the first willing
fellow that comes along. And
he is what every mother hojSes
her son will be, if he doesn't
take to smoking too soon.
Dix has the sunny nature of
the late W all ace Reid plus a
certain kindliness and a cer-
tain strength of character. And
he doesn't look too tempera-
mental or too exotic for every-
day friendship.
J\.ovarro at Other Extreme
A T the other extreme is
-£*■ Ramon Novarro. While
Dix is a believable person and
a not too faint hope, every girl
knows that there really is no
such person as Ramon No-
varro. Of all the figures on
the screen, he is the most shad-
owy, the most remote. Never-
theless, even those women who
go to see 'Ben-Hur" because
it is a religious story, cannot
fail to notice that Mr. Novarro
has very handsome legs.
Novarro came on the screen
shortly after the Valentino
craze. He was falsely called a
'Latin Lover." More truly is
he the Greek tyf>e — a mythical
and, indeed, an improbable
person. But, oh, what a per-
fect example of a Suppressed
Desire.
Our Expert Answers the Question
A Bad Case of IT
/OHN GILBERT i$ sup-
posed to have a very had
case of IT. John >s, indeed,
hot stuff and can look at a girl
in a way that ts far from spiri-
tual. His chief charm ts that
he looks a little unwholesome
— for all the world like the fas-
cinating suitor who is not en-
couraged by the family because
he is known to have wild ways.
A dangerous boy — a radical —
a fellow who never has at-
tended Sunday School — a Bo-
hemian — not a man to be
trusted or relied upon. Thank
goodness!
John appeals to nice, con-
ventional girls. He looks like
a great field for missionary
work — a grand Heathen to be
reformed. But try and do it!
The Blond Bill Boyd
A NEWCOMER in the field
•**■ is William Boyd. He s
beautiful and dumb — just like
Siegfried. And yet not too
dumb to steal a picture, right
away from some mean troup-
ers. Cecil De Mille discovered
Boyd. He has blue eyes and
no mustache to deceive. He
isn't sophisticated or subtle
and his acting ts innocent of
guile. Mr. Boyd is easy to look
at and he will never trouble his
public by any unruly ambitions
to jSlay Hamlet.
/ hope Noah gives Mr. Boyd
a nice ride in the Ark when
Mr. De Mille films "The Del-
uge.' He would be a pleasant
and steady fellow to have
around in a Flood.
Adolphe Menjou is another
Suppressed Desire. But the
girls like him in a nice way.
He looks like the sort of fellow
who knows how to order a good
dinner, who gets along with
William D»vil IVarsall
With blue eyes and no mustache
to deceive, Bill Boyd is beautiful
and dumb — like Siegfried
M. .1. Boris
Adolphe Menjou is another
Suppressed Desire who isn't em-
barrassed in the presence of an
artichoke
:her
em-
it an
Russell Hall
Ronald Colman gives you the
impression he would be the
meanest of the lot, if he weren't
a gentleman I
hi- a J watt ere, who is not
barrossed >n the />' of
an arttchohe. Met the tort
of man who doeSH t hare tu
he browbeaten into wearing
striped trousers and an after-
noon coat to a wedding. If. I
the boy who wouldn t Put sugar
on lettuce, drink champaun,
out of a tumbler or serve beer
with the sou}} course.
Another Sufifiressed Desire
TN fact, little Adolphe is just
the walking book of eti-
quette. He s the boy who
could be trusted not to go na-
tive in an Art Museum, not to
go insane at a morning musi-
cale, not to applaud after the
first act of "Parsifal. ' He's the
man who can wear a high hat
without looking as tho he were
going to a Lodge funeral. To
sum up, Menjou is the fellow
who is adored by Wives Who
Have Suffered.
Ronald Colman s British Re-
serve has almost thrown him
into the class of dependable
leading men. But Ronald gives
you the impression that he
could be the meanest of the
lot, if he weren t a gentleman.
But Britannia rules the waves
and he should make a fool of
himself! The sun never sets
on English soil, so why be a
matinee idol! Ronald kills em
by his indifference. But they
always come back to see him.
After being a good actor for
many years, John Barrymore
has suddenly emerged as a fel-
low who has IT. That is to
say, he is being Paid a salary
that only goes to young men
who have IT. Altho this Poor
wretch saw Mr. Barrymore in
"The Jest, she cannot see his
fatal fascination. Nevertheless,
it must be there. Will some
one in the audience please nse
and explain?
21
The CENTAUR
Tom Mix personifies the American cowboy — brother of the riders of the race: the
Amazons, the Valkyries, the Tartars, the Indians on pinto ponies, sweeping in dim
procession down from the past
EARL JELLICOE was scarcely recognized at Till-
bury docks," ran the indignant leading article of
The London Times.
In fancy I can see the writer of the leader — a worn,
bald, graying man, wearing a morning coat with tails
which conceal the delinquencies of his trousers in the
By
Don Ryan
lumbar-region ; and
spats that hold a pair
of broken shoes tri-
umphantly together.
"The commander of
His Majesty's naval
forces was scarcely
recognized, the crowd
all running off. to see
an American cowboy
disembark from the
Aquitania."
I can see the shabby
old journalist — so he
would be called — ad-
justing his pincenez
and bristling at the
occiput, where the thin,
gray-yellow hair is
parted down the back
and brushed upward.
Writing his leading
article with a pen and
pushing in his indigna-
tion so hard against the
paper that the stub
buries itself with a
sputter of ink and
breaks under his hand.
"Edward! Oh,
Edward!" And to the
deferential youth who
promptly presents him-
self : "Ascertain for me
the name of that Amer-
ican cowboy-1 "
"Mix, sir! Thomas
Mix, sir !"
"My word ! You
know it at once, it
seems."
"Oh, yes, sir. I've
seen him riding in the
films, sir. Many's the
time I've "
"That will do, Ed-
ward. Gad! You too."
And when Edward has
retired : "Extraordinary
this infection by Amer-
ican films. I" — help-
lessly to himself — "I
just cawnt understand
it. . . . And the Earl
at Til'bry docks. . . ."
. . . scarcely recognized .
Mix and Europe
The leading article from The Times is displayed in a
scrapbook in the outer office which is part of the Mix
suite at the Fox Studio. You go into the outer office of
22
of the CINEMA
Drawings by K. R. Chamberlain
the bungalow and there arc three large scrapbooka
labeled "European Trip," 1. 1 and 3, in the custody
i secretary.
The book> are lull of clippings from the press of
London, Paris, Berlin ami tin- lesser capitals of Kurope.
The tone of the clippings i> that of amused- -sometimes
Indignant— surprise. You gather from a perusal of them
that an American cowboy named Tom Mix, mounted on a
trained horse and wearing an extraordinary native Amer-
ican costume, had ridden down the main thorofares of
Europe, like the Pied Piper of Hamelin, drawing the
cheering populace in his train. You gather
that, while the ruling classes for the most
part looked on with amusement, there were
- of alarm in some quarters at the ease
with which the proletariat surrendered its
heart to this barbarian invader.
"That Yankee !" — "Cet Aniericain !" —
"1 >as Amerikaner !"
There is photographic proof of the fact
that Europe's proletariat did surrender itself
to an orgy of hero-worship when Tom Mix
role by. There is a picture of Mix trotting
along Rotten Row with a regiment of bob-
bies trying to keep the crowd back. There
is a dim picture of Mix riding in a foggy
drizzle along the historic London road fre-
quented in time past by Dick Turpin and
still haunted by a shadowy ghost mounted
on a great black horse. That morning the
road was lined for seven miles with a crowd
of 250,000 rain-soaked proletarians. And
there is a picture of Mix seated in a visitor's
chair, talking to the Lord Mayor of London,
who is seated in a great, carved throne-
chair ; a tete-a-tete for which the Lord
Mayor was severely criticized in some
quarters. .
"I Like the English"
"Dut he didn't give-a-damn," confided the
American cowboy. "The Lord Mayor
was a good scout.
"I got so I liked the English all right," he
went on. "They are something like us, only
harder to get acquainted with. They're for
you when they find out you're on the level.
They're like me in that respect — you've got
to show 'em — and they hate a faker. Some
of them can ride a little, too.
"Oh, yes," he continued, grinning. "I
met enough of these lords and dooks and
duchesses to make me dizzy. One recep-
tion they kept callin' 'em off there till I
thought everybody in London was a dook.
"Yes," reminiscently, "I liked the English.
The French didn't impress me so much —
they're kinda hysteri-
cal, you know. They
dont exactly know Tom Mix is one of
what it's all about. *he ^w stars who
ti„ » .•,, •, does his own
They re still arguyin stunts He never
(C ont d on page 64 ) uses a double
Tom Mix is the
Last of the
Vanishing
Americans
23
Three More AUTHORS:
Vicente Blasco Ibanez
W. B. Maxwell
By Henry Albert Phillips
Vicente Blasco Ibanez
~X7ICENTE BLASCO IBANEZ is a notable
example — in many ways an equally notable
exception — of my remarks in another column.
'The Four Horsemen of the ApocalyPse," four
years ago, elevated motion pictures to an in-
disputable position as a distinctive and dis-
tinguished art. But who performed this miracle?
Blasco Ibanez or Rex Ingram? Could not a bad
director with no vision have blighted this story?
And again, what touches of visibility and vision
did Ingram add to the printed Pages?
All of which is theoretical. The facts stand in
all their glory in a fairyland villa — the Villa
■Fontana Rosa — just outside the quaint and
ancient town of Mentone in France, not far from
the Italian border and overlooking the Medi-
terranean Sea. Within the spacious grounds of
the villa are no less than seven sizable buildings
and a score of workmen are daily laboring and
adding other luxuries that only a lavish fortune
could buy. It would be unfair to say that. Here
are the mansions that the movies have built, but
without question, their contribution to it all must
have been enormous.
(Continued
24
W. B. Maxwell
\Y7 B. MAXWELL wrote at least two books
* that have always stood out among the
many modern books I have read. The first was
entitled, "The Devils Garden" ; the other, sev-
eral years later, was "Spinster of This Parish.'
I had always had a strong desire to meet the man
who had given me so many pleasant hours by
writing these absorbing stories. And now- 1 have
just read his current novel, Fernande, and de-
rived an equal amount of pleasure from that.
If you have not read these particular novels
from among the twenty or so that he has written,
it is more than likely you have seen some of
them on the screen, particularly 'A Madonna of
the Streets," with Nazimova in the title-role.
This story was taken from his novel. The
Ragged Messenger.
Mr. Maxwell is at the moment the chairman
of the British Society of Authors and is taking a
serious interest in trying to adjust the relation-
ship between authors and film producers, homing
to iron out many of the disturbing wrinkles that
appear in these articles.
"Let us begin here in England," he told me as
on Page 66)
j
DISCUSS the FILMS
VICENTE BLASCO IBANEZ:
"The future of the cinema is limitless.
Now it is not going ahead very fast. There
is no standard in the cinema. Why do
the artists not get together and set up
standards?"
WILLIAM J. LOCKE:
"One cant be too hard on the films — no
more than one can unjustly scold a child."
W. B. MAXWELL:
"The film as a vehicle for the transmis-
sion of letters to the multitude has really
never begun to be tested."
•A
William J. Locke
Hnm i
The Third of a Series of Talks About Motion Pictures
With Famous English and Continental Writers
TN my humble opinion, the great writers with
whom I have had the honor of talking quite
miss the point when they come either to bless or
curse the motion picture and what it gives to
them and takes away from them.
They fail to realize that the motion Picture
Producers, and the public in its turn too, are
really buying their name, not their story. The
story must, of course, have motion picture Pos-
sibilities, but if that were all it had to recom-
mend it, its chance for sale at any price would be
very — infinite ssimally — small. In other words,
the great writers — in nine cases out of ten, at
least — are being Paid large sums for an in-
tangible, unviewable reputation.
To Put it in terms of slang, what the great
writer makes from the motion picture is "velvet"
— it is unearned increment. If he gets the divi-
dends multiplied, he should not be too inclined
to cry 'wolf," or watered stock! For instance, I
have a novelist friend whose novel in book form
netted him something more than ten thousand
dollars. The motion Picture People gave him
twenty-five thousand dollars for "film rights" —
which compared somewhat to slaughter-house
(Continued
William J. Locke
'VVJlLLIAM }. LOCKE is another great
writer who lives in a Palace by the sea —
also the Mediterranean Sea, on the Riviera,
where summer prevails all year round and win-
ter is lugged in only by the visitors who retail
over the tea-table in the sunshine on the open
terraces weird tales of actual snow and ice and
cold they have experienced not long since in
Pans, London or New York.
I found Mr. Locke out on his terrace in white
flannels, blue coat, hatless, and with an alarming
sunburn on his face and a slightly bald head.
We stood and smoked a cigaret before we went
into his study.
"After all, there is beauty in the world! he
said, looking over the palms and rows of euca-
lyptus growing among the villas below us; then
on toward the sea, over Cannes and then beyond
toward the Esterelles, one of the most noble
groups of mountains in the world. "And just as
there is beauty here in Nature, so it may be
found in humanity.
If you will recall any of the Picture plays taken
from Locke s books, or the books themselves,
on Page 66)
25
Menjou will make Satan a pol-
ished, cynical man of the world,
known as Prince Lucio Rimanez.
Above, Ricardo Cortez as Geoffrey-
Tempest, who falls victim to Satan,
and Carol Dempster as Mavis
Claire, his sweetheart
SATAN
Himself
In D. W. Griffith's production of Marie Corelli's
romance, "The Sorrows of Satan," our own
Adolphe Menjou will be seen as the Evil One,
flung to earth from the ramparts of Heaven by
Michael and his angel host. Satan comes to earth
and forthwith starts his machinations with man-
kind. Above, Satan installed in a steam-heated
apartment surrounded by his aids. Right, Lya
de Puti as Lady Sibyl, one of the Evil One's
chief temptations
26
The PACE
That KILLS
By Faith Service
WE are going the pace that kills.
Ml of US . . . you and I ami the movie stars.
It is killing the stars, some of them. It has
killed quite a tew in the past year, if you will study your
obituaries thoughtfully.
The Killing Speed
Wl who live in or abovit New York, or any other city,
we who profess or hope to be of the "Intelligentsia,"
are all going the pace that kills.
And it we abandon the pace that kills, the kindly
public erects over us a neat, white prominent
tombstone labeled "Dead from the Neck Up"
— and the world passes us by. ^ ,
There is scarcely a person of our
acquaintance who is not crying
"Take me away from New
York ! Take me back to • ""'
the Land ! I wanter
farm! I wanter
live the Simple
Drawing
by
LOREN
Stout
# s
>n
■
}>
Uv
i ~K
*V
>\
-1 ) O *,
mm
-
'
Lif.
Take me
back to a
Farm !"
/7"1 . I J]) ^ is becom-
t l <kz &$&>. ing a metr°-
^ r 0 '^ ' '; } ■ \^^ politan prayer.
f f ft s*yr} C^ynfy If you think it over,
i v f'^jn. .' it becomes worse. You
c^rt ''•'"' 4l " begin to realize how bad
rT't C f 'ry^/ jt is- The thing to do, then,
f'v VVS^ is NOT to think it over. But
^ ■"' if you will, vou will . . . read
*Ur on. . . .
As you think it over, it becomes
maddening. You feel that you are
going insane, or have already gone in-
sane. Maybe you have. Anyway,
when you read about it, you will feel
like holding your throbbing head and
giving vent to screams that would
doubtless land you in a passing patrol
wagon if overheard because, after all,
persons are not supposed to hold their
throbbing heads and scream, even in
the so-called privacy of their own bed-
chambers.
So-called because there isn't, really,
There is NO place where the telephone,
radio, newspaper, victrola, postman, wireless or what-not cannot
reach.
(If you're getting impatient about the stars and what this has
to do with them, wait a moment . . . I'm getting to them.)
Think it over, then . . . think of the daily mail you have to
read — and write. Think, we particularly beseech you, think of
the SUNDAY PAPERS. The monumental Sunday papers that
every well-informed individual should peruse; the Sunday, papers
with their massed detailia of new books, new magazines, new
(Continued on page 70)
27
"The Killer" is the villain in
Rex's pictures. In real life he
is a harmless pinto, but his
enmity to Rex is deep-rooted
and genuine
LEVEN hundred pounds of magnifi-
cent horse-flesh thundered around
the sawdust-covered floor of the
enclosed barn areaway, head tossing and eyes
flashing in the exuberance of release from the
confines of his stall
Rex, "King of the Wild Horses," was being given
his daily dozen over at the Hal Roach ranch on
Pruess Boulevard.
The big stallion's seal-brown coat — that appears
nearly jet-black on the screen — shone with that satiny
sheen that only perfect physical condition and expert
grooming can give. Beneath that velvet coat lithe muscles
rippled and played in stark beauty.
It is a safe bet that more than one of the small audi-
ence huddled against an end wall of the locked enclosure
would have willingly traded his post at the moment for
several more desirable spots in Southern California. A
volcano eruption is interesting to watch, but it loses some
of its charm if the spectator happens to be sitting with his
feet dangling over the edge of the crater at the time.
The Volcanic Rex
D ex is reminiscent of a volcano in more ways than one.
^ Whatever else he may be, he is distinctly not a par'or
pet. He is a figure that comes only once in several equine
generations, an aristocratic barbarian, a gloriously un-
trammeled and utterly unconquerable king of the open
range.
Elinor Glyn says that Rex has "It." If the Madame
means what I think she does, I agree with her. In fact,
Rex has more "It" to the square inch
than a dill pickle has freckles.
Sheer power, vivid appeal to the
primitive, the surging vitality of physi-
cal perfection, flaming life, imperious
with the blue blood of thorobred an-
cestors, as wild and unbroken a child
of Nature as the four winds of Heaven
— those are qualities which the cryptic
The
Story
of
REX
By Hal K. Wells
word "It" probably covers as well as any other available
section of the English language.
Rex is wild. He has less use for civilization than a her-
mit has for a silk hat. The big Morgan stallion is a
genuine wild horse, always has been, and always, will be.
No one has ever successfully trained a cyclone to' do par-
lor tricks without utterly wrecking the parlor during the
process, and no one will ever tame Rex into mediocrity,
unless they kill him first.
Trained in Tiger Fashion
J n many ways the routine followed by Rex's trainer in
his short daily work-out was suggestive of that used by
a lion-trainer in handling a particularly temperamental
jungle cat. Careful never to make a sudden movement
Fred Jackman is Rex's
trainer and his screen
discoverer. "About all
we actually do," he
says, "is to let Rex do
the things he really
wants to do and then
fit the resulting scenes
into our story"
28
A
Rex is a genuine wild horse, always has been, and always will be.
hermit has for a silk hat
He has less use for civilization than a
Rex is a real killer
or sound that might >tartle his restive pupil, and never
giving an inch even when the big stallion threatened to
charge him, the trainer kept the tufted lash of a long
buggy-whip flicking almost constantly between himself
and the horse.
The whip was never actually used. It was merely a
symbol of authority. One light
cut from it on those glossy
flanks would have been equiva-
lent to suicide. Rex has al-
ready killed one man in his
ipectacular career, and seriously
injured several others.
The training routine was
short. The big str.llion was
drilled in "Let's go!" "Stop!"
and "Hold it !" He muzzled a
dummy figure of a man along a
wire. He closed an open door.
Finally he was made to clamber
on a small upturned tub and
pose there after the fashion of
the picture, "The End of the
Trail." Rex is not a "trained"
horse in any sense of the word,
and never will be. His training
stunts are largely disciplinary,
given to make him realize some
slight authority.
The session over, the stallion
was returned to his home in
Stall No. 13, and we adjourned
to the open air. Fred Jackman and I parked ourselves on
the top rail of the corral fence and rolled brown-paper
cigarets while Jackman told me of Rex's rather lurid life
history, and some of the unique methods used in making
the "wild horse" pictures.
Jackman is the director who has handled Rex in every
picture made so far with the big stallion. He is a quiet,
whimsical Westerner, with an understanding of animals
that is at times uncanny.
Jackman has a genuine love for animals and his attach-
ment for the wild Rex is a deep one.
He was born on a large ranch in
eastern Colorado, being registered un-
der the name of "Casey Jones."
He took to the wilds and became a
genuine monarch of the open range.
At the age of five he was captured,
after a costly battle. One man was
killed and another badly hurt.
Ordered shot, he was reprieved and
given to the Colorado State Reforma-
tory for breeding purposes.
His fame as a killer spread — and the
great wild stallion was brought to
Hollywood.
Rex's early life is more or less of a mystery. He was
born on a large ranch in Eastern Colorado, of pure
Morgan stock. The colt was registered under the name
of "Casey Jones," which is the official title on his pedigree
today. He took to the wilds early, and eluded every
searching party that sought to capture him. Roaming
the farthermost recesses of
the big ranch, during the
next five years he became a
genuine monarch of the open
range, with a herd of sub-
jects, and a contemptuous dis-
dain for the luckless horsemen
who occasionally tried to cap-
ture him.
The Story of Rex
T1
hen when the stallion was
five years old, he was finally
taken. It was a costly battle.
One man was killed outright,
and another so badly injured
that he went to the hospital for
months. Believing the stallion
to be incurably vicious, the
ranch superintendent ordered
him shot.
A reprieve came from an un-
expected quarter. Xearbv was
the ranch establishment of the
Colorado State Reformatory
for Children. Breeding of fine horses was a specialty of
this ranch, and Rex was an unusually fine specimen of the
Morgan breed, a strain that was being rapidly depleted.
The big stallion was accordingly transferred to the
Reformatory stables.
His life there did very little to improve a temper that
was already far from sweet. Mischievous urchins tor-
mented him by making faces at him until even today to
grimace at Rex is to start something exceedingly hard to
stop. His fame spread and tourists often went out of their
(Continued on page 65)
29
Just above, you see the fervid love scene as the
movie audience sees it — later.
Below, you may note the Great Lover taking a
lesson or two in the Romeo stuff from the director.
By
Everett
Shinn
30
A
BLONDE
From
Pittsburgh
By David Balch
ALYCE MILLS has risen from an
obscurity only slightly less dense and
L harrowing than thai which is popularly
supposed to attend the struggles of the rising
young author or artist (and probably does)
and she has retained all of the gentle gravity
that early distinguished her in our memory as a
very sweet girl, indeed.
That was three years ago. Now she is leading
woman to that most popular of popular gentle-
men stars, Richard Dix, and is sharing with him
i. jriey
William Potter
Alyce Mills won a Dcauty contest in Pittsburgh. She had
a hard struggle to get a film hearing, Elmer Clifton finally
giving her a screen opportunity
in part the responsibility for making "Say It Again."
Dix's latest picture, easy for folks to look at. And we
have an idea that she is going to succeed.
But three years ago, when we first knew her, Miss
Mills was just trying to get somewhere, by all the
devious means of endeavor open to personable young
women, which included posing for photographic illus-
trations and for the various advertising mediums which
think that "the pretty girl's head, gentlemen, will sell
the article." The movies, then, were a long way off,
long, that is, in one sense, that the only screen work-
worth while was the "big time" variety that seemed al-
ways to be just a little way the other side of sundown.
Beauty Contest Winner
A beauty contest started it all, she told us. It was in
Pittsburgh, her home town, and a certain newspaper
had canvassed the city for the prettiest girl, a sort of
Miss Pittsburgh. It so happened (quite logically, we
think) that Miss Mills was the choice. For a fort-
night she dwelt in fairy-land, even as any other girl
would have done. Then, the contest, or the local ad-
vertising stunt, or whatever else it was, over, Mi»>
Mills descended to earth again and began to live with
her memories.
(Continued on page 77)
31
She Reached for
the MOON
"People are always wishing
for the moon," says Florence
Vidor.
"When I was a little girl
growing up in Texas, I used to
be laughed at by the family
when I mentioned being an
actress.
"In spite of the family laugh-
ter, here I am. By luck, I some-
times think.
"I haven't had time to find out
yet how it feels to be a star. It's
a little like what I imagine a
general feels when he's given
charge of an army.
"Rather frightening, isn't it?"
Florence Vidor has just been pro-
moted to stardom by Famous
Players' — a long step from her first
hit, Mimi, in "The Tale of Two
Cities." Left, Miss Vidor at the
entrance of her Beverly Hills home
THE scene was a Texas movie
house — characters, Florence
Vidor, of schoolgirl age, and a
boy a little older.
They had been watching the pic-
ture heroine go thru thrilling ad-
ventures, advance from a little no-
body on a bleak farm to a dazzling
and irresistible queen in a palace.
Gowns, too. Jewels. And an alto-
gether satisfactory hero !
The lights flared up and the girl
sighed.
"Oh!" she breathed. "I wish I
could be in pictures !"
The boy was horrified. She
mustn't say such a thing ! Suppose
somebody heard her !
"There's no chance in the world
of my ever getting in, considering
how many miles I live from Cali-
fornia and how little I know about
32
Jlf
and Got It/
By
Alice L. Tildesley
acting," she defended herself, "but I can wish it. cant I I
People are always wishing for the moon!"
Now She's a Star
Today, Florence Vidot has the moon. She ha^ just
* been elevated to stardom and her hrst starring picture
is under wa)
The story for this picture was written by the Hungarian
playwright, Ernest Vadja, and the production promises to
be one of the most interesting of the year.
On one of the great stages at the Paramount studio in
Hollvwood, an entire theater searing twelve hundred, with
balconies, boxes and full stage has been erected. A dozen
the highest-paid acts on the vaudeville circuit have
been engaged ; special scenery has been designed and
gorgeous costumes created ; for the play deals with a com-
. modeled after' the Chauve-Souris of the Moscow
\rt Theater.
"All this for our new star !" commented one of the
players, above the music of
the Russian balalaika or-
chestra playing native in-
struments in the orchestra
pit. His gesture went from
the Arabian tumblers pyra-
mided against the backdrop,
to the Russian dancers
executing intricate figures
on the apron of the stage —
from the acrobats, clowns
and comedians doing their
stuff in appointed spaces to
Clive Brook, in his mid-
night-black velvet throwing
knives at the gilded screen
against which the new star
posed.
"So few people ever get
their hands on their coveted
moon. How do you sup-
pose it feels when you do?''
Florence Yidor smiled
when I asked her.
"I u.is so much inn when I was iiki- tured
player, for then 1 was cast for a part for the limple
son that I teemed t<> fit it. and I wa concerned with no
more than my own performance Now that I am a It
special itor) is written around me by a famous man, tin-
cast is selected in reference to me, and if for any reason
the picture IS unsuccessful, the failure will reflect 00 DM
"Rather frightening, isn't it?"
She sat in the bungalow dressing room, a ga) figure in
pink silhouetted against the leaf-green of its walls, the
velvet of her "back stage" dressing-room gown decorated
with symbols of the "magic" in which she indulges in her
starring role.
"I'm hoping a lot for this picture, of course, hut I won-
der sometimes if I shall ever find a part that I'll love as I
did my first 'bit.' It was Mimi in 'Tale of Two Cities.'
Not much of a part. I worked two days only, hut it's tin
one thing I've done that I haven't said: '< Mi. why didn't I
( Continued on page 68 i
I
How It Feels to Star
haven't really had
time to find out," she
confessed in that deep low
voice of hers, "At first it's
a little like what I imagine
a general feels when he's
given charge of an army.
Tremendous responsibility,
you know. Only the
general gives orders that
other people carry out, and
a star can do just her part
of the picture and yet feel
responsible for everything
in the production.
Florence Vidor's first real
role was opposite Sessue
Hayakawa. Luck played its
part — and luck has played an
important part in Miss
Vidor's career ever since
Kenneth Alexander
33
Grand Old Men of the Films
They Played with Booth and Barrett
34
She's
From
Alabam'
By
Norma
Johnstone
Dorothy Sebas-
tian made her
film debut in
"Sackcloth and
Scarlet," directed
by Henry King
Dorothy Sebastian's Southern drawl won her a place in George
White's "Scandals." Dolores and Helene Costello were in the chorus,
too. Then Miss Sebastian's drawl got her a place in pictures
THERE is sure magic in a Southern drawl.
"Are you from Dixie?" is more than a song; the
line, "Yes, I'm from Dixie !" is the open sesame to
the hearts of the world.
So Dorothy Sebastian found it. . . . Dorothy, with her youth and
grace and loveliness, supplementing that distracting Alabama speech.
Nobody ever wanted her to use her enticing drawl ; the positions it
helped her into were those of show girl, dancer and screen actress, but
it was the way she spoke that gained them for her. . . .
When Dorothy was a curly-headed mite in ruffled dresses and pin
socks, the proud family used to take her out in Birmingham's tree-lined
avenues, no doubt enjoying the sensation she must have made.
"And what are you going to be when- you grow up?" people who
stopped to greet her elders would ask the child.
"An actress!" crowed Dorothy, before her scandalized guardian of
the moment had time to reply for her : "Dot's going to be a missionary."
(There was a missionary in the family.)
A bit later, Dorothy used to draw flamboyant figures of dancing girls
on sheets of wrapping-paper, pin them up on the barn as posters, and
give "one-man shows" inside.
Wanted to Be an Artist
Dut when she had finished high school, another branch of art claimed
her. Her mother was an artist and Dorothy was clever with crayons
and colors. The girl opened her own studio in an apartment in town,
(Continued on page 78)
35
How Charlie Chaplin caught the eye of the old Keystone
Company while appearing in "A Night in an English Music-
Hall" is a matter of history. Here is the untold success of the
queer way he made a hit in films
THERE have been stories without number in present-
day magazines which devote their pages to "success"
stories and, according to these engaging biographies
of our big men, they were the first ones at their desks in
the morning, the last ones to put out the light (and also
the cat) at night, spent their evenings acquiring twenty
years' knowledge from the perusal of a correspondence
course in twelve lessons, eschewed drink, tobacco and
night clubs, and did all the other amazing things which
successful men usually do, according to the chroniclers
of this pleasing type of fiction.
Always, despite these beloved bromidic high lights which
feature the stories of the rise of our leading citizens, those
who buy their theater seats from speculators and have
their garters made to order, no writer of "success" essays
considers he has done a professional job unless he dilates
on the fact that "John H. Muchmoney got his real start in
life thru the borrowing of a dollar from a friend," with
which sturdy capital he proceeded to obtain an interest in
the business of making dog-collars, with the result that
twenty years later we find our friend, Mr. Muchmoney,
36
FAME Came
to CHAPLIN
with
Borrowed
CLOTHES
By Bert Ennis'
in sole control of the industry which has a monopoly
on the manufacture of ornaments for canine necks.
Charlie's Success Story
That's the way the stories of success usually run.
At least, it seems that way to this writer. Never
has he seen recorded anywhere a story setting forth
that the successful one borrowed an old derby hat,
a pair of shoes, a cane and a garment sometimes
politely referred to as trousers, and thus equipped
with an odd sort of capital, started blithely down
the road to fortune and fan mail with an asset which
only dealers in old clothes hold in esteem.
No, the stories of achievement must always be
written according to Hoyle, and therefore they
always borrow money. Disturbing as it may be to
those fellow scribblers who insist that the conven-
tions be observed when it comes to the rules govern-
ing success and how to achieve it, this story deals
with one who made the grade to fame and fortune
thru the temporary acquisition of the ordinary arti-
cles of dress just mentioned — Charlie Chaplin. The
little man. who from the time he stuck to the hat.
shoes, cane, et al., which he borrowed at the outset
of his dash after success, was the screen idol of the
entire world, and the funniest man in pictures. This state-
ment can be made without detracting in any way from the
consummate artistry and remarkable talents which he has
displayed in recent films of a totally un-Keystone-like
nature. The fact remains that the Chaplin of the ludicrous
dignity and jauntily disreputable attire rocked the box-
office records and risibilities of a nation at one and the
same time.
In Old Keystone Days
Tn 1913, the Keystone Company, then dominant in the
field of movie comedy, acquired the services of an
obscure vaudeville player, who was being paid an. insig-
nificant sum weekly for tumbling in and out of a stage
box while watching the rollicking performance which
formed the basis of the skit of which he was a part —
Karno's "Night in an English Music-Hall." The
obscure actor, who answered to the name of Charles
Chaplin, was in America only thru an accident. His
brother, Syd Chaplin, had been scheduled to play the part
of the boy in the box in the Karno vaudeville act, but at
„
The Inside
Story of How
the Comedian
Borrowed Ar-
buckle's Pants
and Ford Ster-
ling's Shoes,
Thereby
Achieving
Success
the last minute had decided
to give his brother, Charlie.
.1 chance to see America first.
So Chaplin hied himself to
new employer at the
small studio of the Key-tone
Company in Hollywood
where a certain gentleman
named Mack Sennett pro-
reded to put him thru his comedy paces via those comedy
sics of the old days. The English importation was
>een in a few pictures filled with custard pies, runaway
A scene from an early
and Mack Sennett him
Keystone comedy with Mabel Normand as the heroine
self as the yokel. The comedy was called "The Rube
and the Baron"
automobiles and pretty girls, causing no undue commotion
with his antics on the part of producer or public. In
these pictures he appeared before the camera in rather
conventional make-up, approximating somewhat his
attire when amusing patrons of the two-a-day by his
putty-blowing abilities and tumbling proclivities.
It so happened that at the time Chaplin made his
screen debut in Hollywood there prevailed in that city
of tourists and tinsel a custom of holding annually
an event known as the Baby Parade, a display in
which fond mothers trundled thru the streets in per-
ambulators of all shapes and sizes their beloved off-
spring, seeking the prize which was awarded to the
most beautiful infant. Since the advent of the movies,
undoubtedly, many of these prize-seeking infants are
the same girls who enter every beauty contest staged
in the town where the bathing girls never see the
ocean and traffic signals are not
There also prevailed a custom on the part of Mack
Sennett and other makers of comedy films, which
helped in "-keeping the negative cost down," of seiz-
ing the opportunity to film the Baby Parade and other
current events thru the simple process of sending a
cameraman and a few actors to the scene, with in-
structions to "grab off some shots of this thing and
we'll work it up into a comedy release." Among the
events used in this manner by the astute Sennett may
be mentioned the Pasadena Floral -Parade, the Old-
field auto races, the visit of Sir Thomas Lipton to
Hollywood, and other affairs of the kind.
Another pioneer Keystone
comedy with Fatty
Arbuckle as the country
bumpkin. The comedy
was "Help, Help, Hydro-
phobia," but, alas, the
name of the heroine is
forgotten
The Baby Parade
'Therefore, when the
event featuring the
ipfant population of
Southern California
was brought to the
attention of the Key-
stone producer, it was
not strange that he
( Cont'd on page 76 >
37
PUBLICITY PROBLEMS
By
JOHN HELD, Jr.
WHAT'S GONE ON
BEFORE:
Cella Lloyd, winner of a
bathing-girl contest, has
successfully invaded Holly-
wood. She took along Pa
and Ma Lloyd — but Pa was
shipped home. He couldn't
acclimate himself to the cel-
luloid world. Cella hasn't
actually appeared in a super-
special yet, but she is the
talk of Hollywood. How to
continue to be — ah, that's
the problem. Now read on!
Scene I
In quest of publicity, Cella gets herself ar-
rested for speeding by a snappy Pasadena
traffic cop. The judge, however, has seen
Cella's bathing pictures and she gets a sus-
pended sentence
Scene II
Cella feels that adopting a
baby may help. Besides,
it will lend color to her
interviews about longing
for a little home in the
country far from the
tinsel of screen stardom
38
WORRY CELLA LLOYD
Scene III
Cella contemplates getting herself en-
gaged to Charlie Chaplin, but that's out,
now that the comedian is the much
publicized father of two sons. Cella
calls up Valentino, but Rudy refuses to
come to the 'phone
Cn#i
— <=. :^eg
. Scene IV
There's nothing left for Cella to do. So she sues her
mother — and breaks on the front pages. Ma Lloyd doesn't
quite understand. Who does? The ways of publicity are
indeed strange
39
Karlene A. Armstrong
First Prize Winner, of Philadelphia, Pa.
THE MOTION PICTURE CLASSIC is glad to
present the full results of the now famous Your
Opinion Contest, conducted by the Brewster Publi-
cations. The results are announced by Eugene V.
Brewster, editor-in-chief and publisher of the Brewster
Publications. .
. Interest was almost equally divided between writing
motion picture reviews for the various prizes and in voting
for favorite players and screen plays. It is interesting to
note that Richard Dix received the most votes among the
actors, with Rudolph Valentino, Richard Barthelmess,
Eugene O'Brien and Ramon Novarro following in the
order named.
Pola Negri received the most votes among the actresses
— and, incidentally, the heaviest vote poled by any player.
Mary Pickford was second, with Gloria Swanson, Norma
Talmadge, Lillian Gish and Colleen Moore following.
Full Awards
in YOUR
OPINION
CONTEST
"Passion" was voted the most popular picture ever pro-
duced. It should be noted here that Miss Negri's fol-
lowers voted heavily for "Passion" and for "Forbidden
Paradise," which received the second heaviest vote among
all pictures. "Monsieur Beaucaire," "The Birth of a
Nation" and "The Covered Wagon" were next, in the
order named.
First prize, for the best motion picture review, goes to
Mrs. Karlene A. Armstrong, of Oak Lane Park,
Philadelphia, Pennsylvania. Mrs. Armstrong's review
covered "The Big Parade." Mrs. Armstrong writes
The Classic : "I feel that a prize was scarcely ever
offered which will be more appreciated or more oppor-
tune than this one. You see, shortly after my mar-
riage last summer, I was taken ill and spent a dreary
winter recuperating from the subsequent operations, alto-
gether incapacitated for work. It was during these long
and disheartening weeks that I amused myself- writing
letters and articles to various magazines, for, being unable
to participate in active pleasures, I sought the picture
world as a means of diversion. The Your Opinion
Contest appealed to me as unique and I entered it in a
spirit of pure enjoyment."
Mrs. Armstrong is twenty-two years of age and, at
various times, has been interested in kindergarten and
settlement work. She writes that she was one of the first
readers of The Motion Picture Magazine, starting to read
40
Richard Dix and
Pola Negri Win
Heaviest Vote in
Popularity Contest
it when she was going to grammai school.
The second prize winner, M. Sekle-
mian, of Los \ngeles, California, is ;i
-. e Californian, twent) six years of
His father was a newspaper nun
and at one time a college instructor. Mr.
Seklemian himself is a commercial artist
engaged in the advertising business in
Angeles. Yes, he has ambition
a motion picture director. Hire's
hoping he has as much luck as he had in
Your Opinion Contest.
Theodore A. Baxt, of 1121 Morris
Avenue, New York City, third prize win-
ner, likes contests. He has won several
contests. Mr. Baxt is but twenty and he
tployed in a clerical capacity on a big
New York newspaper. Incidentally, he
has found time to play minor bits before
the motion picture camera as well as on
the stage. Like Mr. Seklemian, he wants
to be a director.
The fourth prize winner, A. L. Shands,
of % Ward Street, Orange, New Jersey,
was born in Russia. His parents brought
him to America at the age of three. He
went to school in New York City. Then
he struck out for himself, being at vari-
ous times a telegraph operator, teacher,
hobo, and writer. Finally, be entered the
employ of Thomas A. Edison, contributing his winning
review while stationed at New London, Wisconsin.
Marcia Sanguin, of 1120 North Stevens Street, El
Paso. Texas, re-
ceives fifth prize.
Miss Sanguin is
twenty - one years
of age and at pres-
ent is the cub re-
porter on The El
Paso Post.
The complete
list of winners is
as follows :
First Price —
$1,000.00— Karlene
A. A rmstrong,
Oak Lane Park,
Philadelph i a,
Pennsylvania.
Second Price —
$100.00 and Gold
Medal— M. Sekle-
mian, P. O. Box
22, Los Angeles,
California. Third
Prize— $75.00 and
Silver Medal —
Theodore A. Baxt,
1121 Morris Ave-
nue, New York
B. rij
Final Standing of Your Opinion Contest
ACTORS
Richard Dix
Rudolph Valentino. .
Richard Barthelmess
Eugene O'Brien
Ramon Novarro
Lloyd Hughes
Ben Lyon
Douglas Fairbanks. .
John Gilbert
Thomas Meighan. . . .
Rod La Rocque
Harold Lloyd
Milton Sills
Lon Chaney
Ronald Colman
Tom Mix
Lionel Barrymore. . .
Adolphe Menjou
Ricardo Cortez
Lewis Stone
Richard Dix
Who received the heaviest vote among all screen actors in
Your Opinion Contest
City. Fourth Price— $50.00 and Bronze Medal— A. L.
Shands, 96 Ward Street, Orange, New Jersev. Fifth
Price— $25.00— Marcia Sanguin, 1120 North Stevens
Street, El Paso,
Texas.
Fifty $10.00
Prices — PhilHppa
Bruce, Box 228,
University, Vir-
ginia ; Louise Det-
lefs. 1609Onondaga
Avenue, I.akewood,
Ohio; Janice M.
S wa r ner , 5641
Garfield Avenue,
Kansas City. Mis-
souri ; Glen Corn-
well, Ponca City
Xews. Ponca City.
Oklahoma ; Isolde
Groom, 3 Bed-
ford Road. Cheam,
England ; Marie C.
Elliot, 4 Suffolk-
Square, Chelten-
ham, England ;
Paul S. Lippold,
3332 Gwynne Falls
Parkway, Balti-
more, Maryland ;
(Com. on page 80)
11,561
10,956
9,328
8,697
6,215
5,379
5,291
4,521
2,827
2,288
1,144
1,096
1,034
1,023
858
792
759
693
605
594
ACTRESSES
Pola Negri
Mary Pickford
Gloria Swanson
Norma Talmadge . . .
Lillian Gish
Colleen Moore
Mary Carr
Lois Wilson
Leatrice Joy
Marion Davies
Constance Talmadge
Norma Shearer
Corinne Griffith
Mae Murray
Bebe Daniels
Betty Bronson
Alice Terry
Betty Compson
Anna Q. Nilsson. . . .
Blanche Sweet
27,599
18,766
11,462
10,296
4,422
3,652
2,464
2,310
1,309
1,287
1,177
1,144
1,076
1,002
989
979
946
627
594
385
41
Cloudy— With Continued
SHOWERS/
Cecil De Mille has announced
his next Biblical invasion. It
will be "the Deluge," and
naturally it will center around
that pioneer house-boat cap-
tain, Noah. The betting is fifty
to one that the flood will come
just as a super-orgy is at its
height. Thus "the mightiest
cataclysm in all the world's
known history," as Mr. De
Mille expresses it, will collide
with the greatest orgy this
director has yet attempted
Cecil De Mille wants it un-
derstood that his plans to pro-
duce "The Deluge" have no
reflection upon the California
rainy season. Mr. De Mille
has not announced his cast yet,
but it is anticipated that there
will be a lot of competition in
Hollywood over the role of
Noah. Already the blonde
extras of Hollywood are get-
ting out their bead costumes
for the super-orgy. It's going
to be a great year for extras,
mates!
Carsey
Two glimpses of the Deluge as visualized by Gustav Dore
Paniiemaker, Sf
42
_____
M I
CAROL DEMPSTER
During the past year Miss Dempster has established herself as one of the most
promising of the screen's younger actresses
43
It's
the OLD
ARMY
Game
this
SODA
BUSINESS
Bl
No comedian since
Chaplin has ap-
peared above the
screen horizon
with so much
original humor as
W. C. Fields. Re-
cruited from the.
stage by D. W.
Griffith for "Sally
of the Sawdust," he
has brought to the
films a distinct per-
sonality and a
talent for creating
spontaneous laugh-
ter. He is en-
thusiastic about
the screen, and this
enthusiasm will
carry him in pop-
ular favor in "It's
the Old Army
Game"
44
Li
You couldn't possibly
stay away when the
Costello sisters, Do-
lores and Helene, ask
you over. They have
one of those snug little
bungalows which radi-
ate charm and con-
tentment. The tree--
and shrubs lend a
homey hospitality and
the girls are asking you
to share it
The
COSTELLOS
Ask You
OVER
If the stranger passing by could see Dolores
and Helene draped in the window seat or
against the archway of their home and smil-
ing a happy welcome, no one would deny
him the privilege of doffing his hat and
saying "Howdy do"
45
Owr
OWN
NEWS
CAMERA
International Ncwsreel photos
Between scenes of Ramon Novarro's new
picture, "Bellamy the Magnificent," now
renamed "The Man from London." Here
you see Mr. Novarro, Sally O'Neil and
Director Hobart Henley
Gene Tunney, contender
for the heavyweight pugi-
listic championship, ar-
rives in Hollywood to
start his film work and
takes a lesson in make-up
from Rudolph Valentino
Joan Crawford is here again! She just
won a life membership to The Gables,
a Santa Monica, California, beach club
with her dancing of the Charleston
ET j|
K
W "*" *
B^kr
m A^F
fl
K^^M
It
.^r
Lj
i
46
International
Newsreel
-I
The young lady with
the — er — pedal extrem-
ities is Georgia Hale,
who plays one of those
dance-hall gals in
Famous' production
of "The Rainmaker.''
Ernest Torrence plays
an old-fashioned bar-
keep in the picture.
The other gentleman
on view is Director
Clarence Badger
You'll soon see W. C. Fields' first starring comedy, "It's the
Old Army Game." Here you have Mr. Fields conferring on
location at Palm Beach with his director, Eddie Sutherland
Batter up!
Curves are un-
necessary here.
La-a-dies and
gentlemen, the
pinch-hitter is
Doris Hill, who
also is leading
woman for Syd
Chaplin
47
A flock of would-be
Rooscvelts apply to Di-
rector Victor Fleming at
the Lasky Hollywood
studios. They all want
to play the famous Teddy,
in Famous' forthcoming
production of "The Rough
Riders." The man with
the book in his hand is
Herman Hagedorn, offi-
cial biographer of Theo-
dore Roosevelt
The Charleston has now captured
the great open places. Here is
Virginia Bradford, cowgirl de luxe,
demonstrating some new steps to
George Lewis
Claire Windsor, left,
demonstrates how
Ginger, the screen
dog, retrieves tennis
balls that go over
the wire
International Ne\v?reel
48
Big Pictures and Little Ones
By Robert E. Sherwood
Till'', season which has just pasted has produced a
veritable tidal wave of BIG pictures extra-
special super features, of ten <>r more reels, that are
sold to the public at advance prices.
irting with " The Merry widow," "The Wanderer,"
"The Phantom of the Opera," and "Don O." there nave
appeared, subsequently, such extensive offerings as "The
Big Parade." "Stella Dallas." "The Vanishing American,"
"Hcn-Hur," "The Sea Beast," "1 a Boheme, "The Flam-
ing Frontier," "Mare Nostrum," "The Black Pirate,"
"The Midnight Sun," "The Volga Boatman," "Sparrows"
and "Aloraa of the South Seas.'
The money invested in this group of offerings would
be sufficient to launch a medium-sized war. The revenue
that will eventually he derived from them would put
Germany on its feet again, with enough left over to re-
habilitate Russia.
Tidal Wave of Specials
Cor the season ahead, the tidal wave of super-specials
threatens to assume the proportions of a deluge. There
will t>e "Old Ironsides," "What Price Glory," "Tell It
to the Marines," "The Scarlet Letter," "Uncle Tom's
Cabin," "The Garden of Allah," "The Greatest Show on
Earth," "Don Juan" and some dozens of others.
In fact, the old six- or seven-reel picture seems to be
going out of style. Today, any director who manages
to gather unto himself a
reputation demands twelve
crowded reels or he wont
play.
This brings us up to a con-
sideration of the problem :
what makes a big picture big?
Is it the footage of celluloid
that is consumed, or the size
of the sets, or the number of
extras employed in the mob
scenes, or the amount of
money expended by a gen-
erous producer?
To answer this question,
we must delve into the ma-
chinery of the movie industry
itself (and if you aren't inter-
ested in machinery, you can
drop off at this point and take
a run thru the rotogravure
section).
The Program Picture
What makes a big picture big?
Is it the footage of celluloid that
is consumed, or the size of the sets,
or the number of extras employed
in the mob scenes, or the amount
of money expended by a generous
producer?
Two such hits as "The Covered
Wagon" and "The Big Parade"
started as program pictures. Both
unexpectedly grew out of bounds.
Just what makes a big picture
big?
w
hen the movies first
started to gain their uni-
versal popularity and to earn their fabulous dividends, a
few astute magnates decided that it would be easier to
sell films in groups rather than as individual offerings.
Thus, the "program picture" was born — and the pro-
gram picture, as subsequent events have proved, is the
curse of the silent drama.
To explain what a program picture is, I may take the
case of Famous Players-Lasky, which was the pioneer in
this particular field of endeavor. Famous Players decides
to produce forty pictures in six months, which will be
divided up among its various stars and directors ; there
ma\ he two Thomas Meighan productions
Swanson productions, three Raymond Griffith produc
tiotlS, two James ( 'ru/e productions, and so forth.
The stars, stories, directors and casts for these forty
pictures will Ik- lined up in advance, and then the high-
powered salesmen will start out to sell the entire program
to exhibitors sight unseen. The exhibitor will be sold
on the strength of the titles of the pictttn
office reputations of the stars, directors and authors, and
the salesman's own personal ability to hoist the (
husband. Thus, an exhibitor who wants to book a Strong
feature, like a Harold Lloyd comedy, will have to a<
a number of weaker sisters, on the same program, along
with it.
Since most of the selling is done before the pictures are
even made, the actual work of production becomes of
minor importance. Program pictures must be ground
out on schedule time, of scheduled length and at a sched-
uled cost.
Factory Products
\X/ith the result that program pictures are apt to be
' slipshod in form, hazy in story and played in a list-
less, pepless manner. They are factory products, and
they look it.
A special production — one which is made on the side,
regardless of the prearranged program — is much more
likely to represent careful,
sustained, intelligent effort.
Its producers spend more
time and money on it, and
they dont have to be re-
stricted by an early release
date.
All the independent come-
dians— Chaplin, Lloyd and
Keaton, in particular — make
their pictures in this way.
They work over each produc-
tion until they are convinced
that it is right, or as close to
right as they and their collab-
orators can possibly make it.
Douglas Fairbanks works
in the same way. So does
Mary Pickford. So do Ernst
Lubitsch, Erich von Stro-
heim, John Barrymore.
Norma Talmadge, Lillian
Gish and a few others. So
will Gloria Swanson. when-
ever and if ever she is given
the chance to do so.
It is obvious that pictures made in this way will be
superior to pictures that' are ejected, at tediously regular
intervals, from a sausage machine.
There are two productions which illustrate this point
effectivelv : one is "The Covered Wagon," the other, "The
Big Parade."
Unexpected Specials
Doth of these pictures were intended, originally, to
conform to the requirements of the program. Both.
{Continued on page 7~~
49
BB&k^^vS
^^■m^l
^^Mii
'v^v'^^3
Br. a i ^P1
HE**.
if/ "^ ■ M
William Boyd and Elinor Fair in "The Volga Boatman"
THE real romance of Russia has yet to be written.
The country of the communists surges too strongly
with emotions to be understood completely by those
who would translate its life into terms of screen drama.
The song of Russia is pitched in a tragic key and some
fine day a director may be given carte blanche to give an
authentic version of it.
Cecil B. De Mille romanticizes Russia in his "Volga
Boatman," which is nothing but a love triangle that sel-
dom approaches moving drama. It is flavored with the
military touch and there is a first-rate element of contrast
present which depicts the lowly peasant as the conquering
hero in affairs of the heart. But in showing his conflict
of the Reds against the Whites, De Mille makes opulent
excursions into sentimental and erotic pastures. In other
words, he introduces his own personality to create pictorial
effects and so his story gets away from him. He is all
for the color of the thing.
The trouble with "The Volga Boatman" as I see it is
its lack of a gripping climax which should have shown the
inexorable march of pathos and tragedy. Still in giving
De Mille credit, it is best to call this an experiment. He
has played with Russian conflict as it concerns peasant and
aristocrat — artistically, there is nothing to criticize here.
It is only in his subject matter that he falters. Russia
may sing joyously, but there is a tear behind the song —
a tear symbolic of a people who look with tremendous
seriousness upon life.
There are Hollywoodian touches in the picture, too,
which, while gratifying in a pictorial way, are, neverthe-
less, out of harmony with the theme. The points which
will be remembered here are the highly creditable atmos-
phere, the detail — and the sincere performances contribu-
ted by William Boyd as the Red, Victor Varconi as the
Prince and Julia Faye as a Tartar maid. Elinor Fair
does not realize the full possibilities of the character of
the princess. It is a part which fairly cried for the
release of pent-up emotions.
Marion's "Princely Role
Cver since Marion Davies discovered that her forte is
light comedy, she has given her public some highly
mirthful character studies. There's no room for argu-
50
The
Celluloid
critic
ment that she cannot masquerade as a youth —
and get away with it. There is spirit in her
acting — and conviction too.
So what does it matter if they have changed
"Beverly of Graustark" to fit her talent and
personality? What matters if the girl dons
princely attire, if the creaking plot can be
spiced up a little? The good, old Graustark pattern has
gone to the movie well many many times since the birth
of the five reeler. If it can be changed in its stock situ-
ations— well, so much the better for those patrons who
are shouting for originality or novelty.
Broad liberties are taken here with McCutcheon's yarn.
Which gives Miss Davies her chance to masquerade.
Accordingly, the scenarist, the
Marion, herself, have adopted
magician — Presto, Chango — and
resplendent in princely attire. Her mannerisms, her play-
fulness— these are the factors toward this picture's popu-
larity— for it is destined to be popular.
It contains oodles of sentiment and romance — and quite
a spark of adventure. The Davies personality is stamped
all over it. She wears her clothes quite as well as David,
Prince of Wales. Roy D'Arcy is present, but not so
versatile as I anticipated. His performance differs in no
respect from his work in "The Merry Widow." Antonio
Moreno plays the hero in the approved story-book and
stage manner. Altogether, the picture has plenty of appeal.
director and possibly
the by-words of the
the star comes forth
Mostly a Fashion Show
Cometimes musical comedy adaptations turn out very
well on the screen, but at best it is a gamble whether
they will succeed or not. "Sally" and "Irene" turned out
fair enough, principally because they contained some
sprightly fun. To get right down to brass tacks, it all
depends upon whether there is enough plot and gags after
the music is eliminated.
In remembering the twosome above — and their enter-
taining qualities brings to mind the shortcomings of "Mile
Modiste." True, the decorative Corinne Griffith enhances
the piece with her presence. She is resplendent in some
striking sartorial effects. Otherwise, it is a long and
tedious fashion show — one bolstered up with wise-crack-
ing subtitles which lose their power to provoke laughter
thru their constant repetition and lack of spontaneity.
I cannot see any reason for adapting it in the first place.
It wasn't so much a plotty comic affair as it was a me-
dium to express Victor Herbert's melodious score. The
original offered a perfect synchronization of plot, char-
acterization and music. Thus, with the operatic matter
Laurence
Reid
Reviews the New
Photoplays
removed, Miss Griffith wasdeprived
oi a chance to do anything else than
display a complete wardrobe of glad
There is hut an inkling of the
plot. It shows itself when the star,
Impersonating a Paris mannequin,
ii set up in business by a butter-
ind-egg man from America. Natur-
ally, this piques the French count
who loves her and who believes the
worst. There's your story — and
your picture, too.
What remains is a fashion parade
— with Corinne Griffith wearing her
u">\vn> exceedingly well. The only
hit of characterization is offered by
Willard Louis as the afore-mentioned b. and e. man. He
looks the part, but the gags supplied him are weak. Xor-
man Kerry looks spick and span in some gay uniforms.
In other words, it is a talky picture in which the
players walk on and off the sets.
This MacLean Fellow
In watching a Douglas MacLean comedy I
always recall his memorable effort, "Twenty-
three and a Half Hours' Leave." That's the
penalty he pays for ringing the bell a few
seasons ago. With each succeeding pic-
ture I've anticipated something as de-
lightfully human and amusing, but none
has quite reached the mark. The new-
contribution, "That's My Baby." comes as
close as any — without trespassing on its
plot. This is another way of saying that
it has its rollicking moments.
The piece runs dry at the start — but
the minute the Baby is introduced it picks
up momentum and finishes in a volley of
laughter. This baby, incidenta'ly, is
played by Harry Earles. who you will
remember as the midget in "The Unholy
Three." He is the chap who, really more
than MacLean. changes the complexion of the
story. And why not, since the plot motivates
around him?
There is no great shakes about the story —
which concerns a couple of bachelors. One
of them, Mr. Hero, falls in love so badly that
his partner becomes disgusted with him. But
the bride elopes, thus giving the disappointed
swain the opportunity to re-
nounce the opposite sex.
This chap, however, is made
of sentiment and. sympathy.
So when a damsel sprains
her ankle, he promptly renders first aid.
There is slap-stick here — quite a lot of it,
but it doesn't spoil the idea. The piece is
Corinne Griffith
in "Mile Modiste"
Marion Davies and Antonio Moreno have a romantic moment in'
"Beverly of Graustark"
consistently funny. MacLean, acting in his customary
bewildered manner, extracts an adequate amount of
humor, while Claude Gillingwater, wearing his ex-
aggerated scowls, makes a praiseworthy foil.
The War Comes to Vienna
lot of money has been spent on "The Greater
Glory," but the result is negligible. Whatever
those in charge were driving at is difficult to
discern as it is impossible to make anything
out of it. There is a little bit of every-
thing in the story and the effort to
make it clear has brought forth
nothing but confusion.
The original tale, "The
Viennese Medley," was
scheduled for the big thea-
ters. But it became swal-
lowed up in a mass of de-
tail during production and
emerging as "The Greater
Glory" it has just been al-
lowed to swim or sink by
itself.
The four horsemen are
resurrected again. They
gallop across the sky, while on terra firma the
spectator sees a lot of movement in Vienna
before, during and after the war.
It is all very much to the hodge-podge. One
reason for the rambling, shambling plot may-
be found in the wealth of characters, there
being no less than two dozen relatives who are
difficult to identify because of their Teutonic
names — and the fact that they appear, disappear
and re-appear without rhyme or reason.
I get the general impression that the author
tried to duplicate "The Four Horsemen" from the
Germanic side of the argument — and that the di-
rector attempted to reproduce that memorable
effort.
(Continued on page 70)
51
MORE IMPRESSIONS
POLA NEGRI was one of the surprises of my life.
When invited recently to a little dinner-party at her
home, I hesitated about accepting because I dislike to
waste an evening and hate to be bored. I had never met
Pola Negri but I had heard and read a lot about her, and
was not anxious to meet her. This only shows how we get
wrong impressions, and how Dame Rumor and General
Publicity often blunder and do grave injustice. And so I
accepted the invitation with some reluctance, for I fully
believed that I would be required to sit for an hour in the
drawing-room while the guests were assembling and until
the stately Pola should slowly descend the grand stairway
with queenly dignity while we guests should rise and bow
and scrape and do her homage.
I had pictured her there in all her glory, the observed of
all observers, and as she finally seated herself on her
throne I saw myself among her satellites sitting around
her highness as she haughtily told us what a great artiste
she was. I could hear them all saying "yes, yes" to the
self-centered tragedy queen, and I saw myself at the
dinnef-table listening to her subjects' praise and adula-
tion. I felt sure she was temperamental, Ritzy, up-stage,
and all that sort of thing, and I had been told that she
never suffered from inferiority complex. And there are
other things I thought and believed about Pola Negri off
the screen which made me anything but an admirer.
But how different it all was. The stage was not set for
a grand-stand entrance, there was no throne, no idol-
worshiping, no attempt to be the center of attraction.
Pola Negri was seated among some guests when I entered.
She rose, came forward and greeted me cordially. She
was dressed simply but elegantly, with no signs of gaudi-
ness. Her manner was natural and without affectation.
She has a pleasant voice, and rather a strong one, and
speaks with a slight foreign accent. If she had any make-
up on, it was not
obvious. At no time
during the whole
evening did I see any
attempt on her part
to monopolize atten-
tion or conversation,
and she succeeded in
making everybody
feel perfectly at ease
without any appar-
ent effort. I feel
sure that the Pola
Negri I saw was the
real Pola and not an
artificial one. Bluff,
hypocrisy, posing,
coquetry and artifice
are evidently not on
her program nor in
her nature.
She presided over
the dinner table
gracefully, naturally
and unaffectedly,
and nobody felt that
it was necessary to
include her in the
conversation altho
she often joined in.
I asked her opinion
The Fourth of July is coming! A little preparation is under way with
Syd Chaplin and Doris Hill — but Chuck Reisner seems bent upon
upsetting things
of Americans in general and of many plays and players
in particular, and she seemed always to have a good word
rather than a bad one. If she hates anybody, she keeps
it a secret; if she admires anybody, she does not hesitate
to say so. And yet she is far from being a "yes man."
She has decided opinions on everything and expresses
them with candor, but somehow she gives the impression
that she finds something in everything and in everybody
to admire and nothing to condemn. In other words, she
is not at all "catty" nor envious, nor jealous, and I want
to remark right here that these are rare virtues out here
in Hollywood.
But the one thing that surprised me most was the men-
tality of Pola Negri. I soon felt myself in the presence
of a great woman. She has a very wise head on her fair
shoulders and her process of deduction and induction are
nothing short of masculine, because one rarely sees such
a logical and profound insight into things in a feminine
brain. I'll wager that she is seldom wrong in her estimate
and analysis of the affairs of life. Women usually depend
on their intuition, in which faculty they always excel the
male, but Pola Negri seems to be guided more by logic
and reason than by guesswork. And she is a student —
she goes into the whys and wherefores of things. And
her library is the finest I have yet seen out here. She
reads much, but she thinks more. She is sociable but I
imagine she is somewhat bored by the general run of light
conversation that is so common among players. To make
oneself agreeable to Pola Negri one must talk about some-
thing deeper than clothes and the weather, and yet she
is graciously tolerant. Just to show how generous and
whole-hearted she is, one of the first remarks she made
to Corliss Palmer in the presence of several people was :
"I have several times been told that you were the most
beautiful girl in Hollywood, and I was prepared to doubt
it, but now I am
free to admit that
the report was not
exaggerated."
I believe that Pola
Negri is one of the
most admired of all
women of the screen,
but I am now in-
clined to think that
she will never be so
popular in real life
as are many others,
because the average
man does not usually
fall in love with
intellectual women,
and • women dont
often take kindly to
those of their sex
who are smarter
than they are. While
Pola is not a mascu-
line woman, she is
the exact opposite of
the Lillian Gishtype.
One would never
liken Pola to the
fragile lily nor to
the delicate violet.
She is more than a
52
of HOLLYWOOD
By Eugene
V. Bkhwster
Bower she is a sturdy oak. full of life, strength and
It' one had never seen her on the stage or screen,
would feel safe to bet that she was a great artiste
And that she will In- just that, long after many Others now
in her general class air dead ami buried.
II roa V'arconi, known as the Hungarian Romeo,
his charming wife, who was recently a celebrated re
One'l Car, and another half-hour to gel a pair
prooi I'll \ \ii\ii\" i certainly a different young man
from what he was a t< w ;<> Perhaps you no-
ticed when you WW him last that he looked worried and
careworn. Well, now he is full of confidence and he
looks younger than ever, lie is a type that became ■•<
standard and his name a household word a few years ago,
and as such he has never had a competitor. I figure that
from now on Rudy will go up and stay up at the top.
There can he Gilberts and Colmans and so on, hut then
can he only one Valentino.
and
g wite. who was recently a cci.cnraieu musi-
cal comedj star in Europe, entertained me at a sort of
-five-o'clock tea the other day. hut it turned out to he an
informal musicale. Corliss Palmer and Dorothy lhvan
went with me, and we had to enter thru the kitchen
door because the heavy rains had washed away some of
the hills up above their dwelling and washed tlum down
on their lawns and gardens. I told him that "The Volga
Boatman" should have established a ferry across the lawns
and that I was thinking of building an ark for myself.
It doesn't rain very often here hut when it does, it cer-
tainly does. And the hill-dwellers get the worst of it.
But the rainy season is over now and we shall have sun-
shine for about nine months. But it seldom rains all day. 'There is a conspiracy on foot to do some very big things
s tired, and stops for a few in the picture world, and the conspirators are Clarence
am dining with Lloyd Hughes next week, also with
Robert Frazer, and I am impatient to meet and know
them well. I shall take pleasure in telling you all about
it in my next.
* * *
It rains so hard that it get
hours, and the sun comes out. Victor is a handsome
young Hungarian about six feet, thirty years old. He is
full of humor and good nature. When he laughs, his eyes
almost close, like slits. He is very frank, wholesome,
polite and likable. He speaks "broken English" very well
indeed and it is a delight to listen to him. A Hungarian
musician was there, and how he could play the piano ! I
think the hills round about are still echoing. And then
they all sang some rollicking Hungarian folk-songs, and
they put a lot of feeling and emotion in them. These
foreigners certainly have us poor Americans beaten a mile
and a half when it comes to
music and expression of the
emotions. And I think we are
going to hear from this Vic-
tor Varconi. Cecil De Mille
has signed him to do leads,
and he has a fine personality.
I think you are going to like
him immensely. More later.
It's a funny thing, but Holly-
wood is about the worst
place I know of to see pic-
tures. One would think that
right where they are made one
could see anything almost any-
time. But theaters are scarce
and far between and they run
old pictures and poor ones
most of the time. Several
new and big theaters are
planned, however. Grauman's
Egyptian is here, of course, but
they have been running "The
Big Parade" ever since I have
been here. Of course, there
are many big theaters down-
town in Los Angeles, but it
takes half an hour to motor
there and half an hour more
to find a parking place for
Rudolph Valentino demonstrates his three prize
dogs. Left to right, Mirtza, an Arabian greyhound;
Centaur Pendragon, Irish wolfhound; and Shartan,
Great Dane pup
Brown and Irving Thalberg (a Metro chief). I spent an
evening with the congenial Clarence and he confidentially
unfolded some of their plans. Since directing "The Goose
Woman," "The Eagle" and "Kiki," he is taking plenty
of time to decide on his next, because it must be his best
yet. And I'm betting it will.
had luncheon with dear old Uncle Carl Laemmle at
Universal the other day and I am afraid he wont invite
me again. Unfortunately I am not a "yes man," of which
characters Hollywood is full —
I mean those who say only
nice things and who never
dare to offer a friendly criti-
cism. Poor Uncle Carl is and
always has been surrounded
with "yes men" and I doubt
if he really knows what is go-
ing on and just where his
company stands. He knows
he's making money and that's
about all. I want to see Uni-
versal "come back" and get in
with the big ones and do
things, but I fear thev never
will.
Defore any picture goes out
of Hollywood it is given a
try-out at one of the smaller
theaters, and sometimes at
two or three. They plant scouts
around and a few dozen "yes
men," and try to find out how
the picture "goes," then they
take it back to the studio and
correct it accordingly. They
try to keep me and other
critics away from these pre-
liminary previews, because
{Continued on page 72 i
53
.
Muray
Charles Emmett Mack was raised among the Pennsylvania
miners. He was a member of the Griffith studio crew when the
dean of directors selected him for a role in "Dream Street"
SOUNDS like the title of an old-fashioned dime novel,
doesn't it? But it is the true story of Charles Emmett
Mack. . . .
The young actor has just finished making "The Unknown
Soldier," a role for which leading men fought and bled even
as feminine stars once struggled over Peter Pan, yet it is
not so long ago that directors were calling :
"Oh, Charlie, get me a kitten that will look like this one
did before she grew up !" Or
"Say, I've gotta have a knife that'll look dangerous, but
the baby has to pick it up, so it mustn't be dangerous — and a
couple calves marked alike — yes, and a lamp from a forty-
niner stage coach, by one o'clock, Charlie !"
Before that, tho, Charles Emmett Mack was a studio guide
in the Griffith Mamaroneck Studios. He used to take parties
of visitors over the sets.
Prop Boy
to
STAR
By
Alice L. Tildesley
because that was the real thrill. He'd look at
me when we'd come in, but he'd never speak.
I always thought that he'd manage to worry
along if I never came back.
"Then I got into the property room.
Naturally, I saw more of Mr. Griffith. He
wasn't like the others — he always made it
easy to get things from him. You know the
definition of a prop man : 'A fellow who
wants to borrow something.' And you know
how popular that makes one.
"One day, I'd gone down to his set for
some reason, and was sitting on the curb
waiting for a bus to go back, when Mr. Grif-
fith came out after me.
" 'Come and rehearse this scene,' " he in-
vited me.
"I was just a kid and I thought he was
making fun of me. 'No thanks,' I said, 'I
came to this studio to learn to be a director.
I
Griffith's Prop Boy
was allowed five minutes on each
set," he explained, "and I used to
think up rtew jokes every night to spring
on them next day. We went on Mr.
Griffith's set whenever he was working,
54
Charles Emmett Mack's
first appearance as an
actor, opposite Carol
Dempster in "Dream
Street"
Abbe
Griffith Made
Charles
Emmett
Mack
Into an Actor
I couldn't consider being an
>r.'
"He looked at me then —
I -and smiled.
" 'So you're going to be a
director! Well, you come
and rehearse this scene for
me, Charlie,' he said. That
was the first time he had
called me 'Charlie,' so I
went.
Then — "Dream Street"
"Mr. Griffith al ways re-
hearsed for weeks be-
fore he turned one crank of
the camera. I rehearsed the
part in 'Dream Street' with
everyone on the set kidding
me. I didn't know whether
or not it was all a joke,
sometimes. But I'd been
around a studio two years
and I'd picked up a little. I
liked the part and Mr.
Griffith was wonderful.
"One day, after we'd re-
hearsed the last scene, Carol
Dempster, Ralph" Graves
and I were sitting in a row
on a bench when Mr. Grif-
fith came up.
" 'Got your clothes for
the picture?' he asked.
Carol and Ralph both said
■Yes.' and Mr. Griffith
turned to me and said :
•That suit'll do, Charlie.'
'"Oh, no! This isn't the
kind of suit I want,' I re-
turned. You see, I was
born and brought up in the
anthracite region where im-
migrants come in just 'as
and I knew exactly
what the boy as I saw him
should wear. Mr. Griffith let me have my way. I think
he was pleased that I had ideas. At any rate, that was the
first time I was absolutely sure there was no mistake about
my playing the part.
"The first time I saw myself on the screen I thought
I couldn't stand it. We were all in the projection room
looking at the rushes of my first day's work. I couldn't
think of the shadow on the screen as myself — I thought
of it as 'It.' I saw this thing sneak in. It had such big
ears and such a strange nose. Its mouth seemed to be all
over its face. And then suddenly it turned around on me
and I bolted out of the room.
"Mr. Griffith sent for me and had me sit by him while
he showed me what was wrong and why. I thought it all
Not so many years ago
Brothers circus. Now
Kuth Harriet I.ouisr
Charles Emmett Mack was a peanut vender with Ringling
he's looked upon as one of the screen's most promising
young actors
terrible, but he seemed to think it good, and so I kept on
acting instead of going back to the property room."
Raised Among the Miners
"The Macks were Irish, which was possibly the reason
Charles could wheedle anything from crested card trays
to the gardener's baby out of reluctant "prospects" when
he was a prop boy. The Irish tongue was also no doubt
the cause of his forgivable alibis when black swans or
thirteenth century swords failed to measure up to direc-
torial desires.
But when Charles was little, his playmates were as likely
to be Czechs or Poles or Russians as native Pennsylvanians.
(Continued on page 88)
55
Ruth Harriet Louise
GRETA GARBO
The Scandinavian meteor is to play opposite Jack Gilbert in "The Undying Past." The mercury ought to touch
its highest point of the summer in their love scenes
56
The KID From
CAPE COD
By Mary B. Chapman
DAREOS, Hollywood's favorite crystal-gazer, left
the table of well-known rtars at Marion Davits'
party and walked across the room to one at which
an obscure young player named Charles Farrell.
■'You should be happy," Dareos observed, in that far-
voice of his. "Your future holds the biggest prom-
! any man's on the screen."
Charles Farrell beamed at the seer, as he would, 1
believe, beam at an enemy if it were possible to con-
ceive of Charles as having an enemy. But he didn't
pay much attention to the prophecy. He thought it
was just part of the party. . . .
Opportunity in "Old Ironsides"
A\n now Charles Farrell is playing the most coveted
juvenile lead of the year, the part of the Com-
modore in "Old Ironsides." after nearly three years
in extra roles
He sat on the rocky beach at Catalina, stripped to
the waist and barefoot,
chained with an iron
chain to George Ban-
croft, who was similarly
bound to Wallace Beery,
in turn manacled to
George Godfrey, negro
champion of the ring.
The rocks were sharp,
the sun was blistering,
and leg-irons chafed
and cut in the rougher
action of their scenes.
First aid was continu-
ally being called on be-
tween clicks of the
cameras as the four
escaping captives fought
and struggled, slipped
and scrambled among
the jagged boulders at
the edge of the blue sea.
"Isn't it great?" cried
Charles, in an interval
between shots. "We've
been inseparable for
two weeks — we four —
and soon we have to
swim out to the Esther.
chains and all !"
He seemed pleased at the prospect.
"We've done about everything else — been lost at sea,
almost wrecked on Dead Man's Island, dropped over
walls, been in every kind of fight — oh. yes, we still have
the big battle scenes and the explosions! After I had
worked in the picture for three days, I went out and got
my life insured for twenty-five thousand dollars, took
accident insurance and everything, so it doesn't matter.
Charles Farrell
played extras for
Fox and small
roles with
Warner. Now
James Cruze has
given him the
leading role in
"Old Ironsides."
Farrell's oppor-
tunity is here.
Left, as he ap-
pears in "Old
Ironsides"
«^T jF .^F I'm bavin-
jr^r \\\e linn
Xmv life!"
^^^Ile looked it.
^^wilh bis laughing
brown eyes, his hair
wind-blown and bis di--
irming smile. His is truly
"the face pf one who's steppin'
to a fair." as the Irish say.
Distinct Irish Type
Deople are always picking out a
successor to the beloved Wallace
Rcid — so why shouldn't I ?
Part of Wallie's hold on fan-
was his hold on those immediately
around him. Charles has that
fascination off the screen — now if
he can get it over on the screen !
When he played his scenes in the
rigging of the Esther, a sailor
by. Not that he could do anything
if Charles fell but just for "moral
support." An ex-prize-fighter
waited with a warm robe during
Charles' scenes in the storm and
had a berth and hot coffee ready
for the almost frozen young actor.
They used to do things like that
for Wallie.
And Wallie used to do the sort
of things Charles does.
The Esther went out looking for a storm, for far be it
from Jim Cruze to use wind-machines! They looked for
ten days and returned disappointed. Xo sooner bad
supplies been removed from the ship and everyone landed
than clouds appeared on the horizon and the Pacific began
to belie its name.
"Everybody with me"" asked Mr. Cruze.
"Aye, aye. sir!" chorused the cast, in proper seagoing
style.
(Continued on page 74 i
57
Ramon Novarro, of "The Man from London," John Gilbert, of
"Bardelys the Magnificent," and Roy D'Arcy, of "The Temptress,"
compare mustaches and use a rule to do it
Marceline Day, appearing in "Toto,"
does an imitation of Charlie Chaplin
in "The Gold Rush"
Letters to King Dodo
Hollywood.
Dear Majesty :
I HAVE just returned to the twentieth century after
living for a few days in the early part of the nine-
teenth. Your Majesty is familiar with the theory
advanced by Bergson, Ousprensky and other mystic
philosophers — the theory that time and space do not really
exist, and everything that ever was or ever will be is
accessible, if we have the key.
My experience in the last few days leads me almost to
accept this theory. For I was as completely isolated in
the period of 1812 as if I had never lived at any other
time.
I was aboard the good ship Esther, which sailed from
Salem, Massachusetts, in the spring of 1812 and was
captured by Barbary pirates and rescued by the frigate
Constitution. The Esther lay at dock on the Isthmus at
Catalina Island. This side of the island was deserted
except for the Paramount players who represented the
village life of that earlier day and the crews of the
thirty-odd ships which are being used in the filming of
"Old Ironsides."
The Cabrillo, one of the largest of the ships in this
fleet, on which the cast of "Old Ironsides" is quartered,
was afloat for two weeks without landing. During this
time she was caught in one of the violent storms that
have scourged the peaceful waters of the Pacific this last
spring, and for hours she ran before the wind, a toy in
the hands of Providence.
The village at the Isthmus is a picturesque collection
of wharves, warehouses, and roistering taverns. Sailors
of a hundred and fifty years ago swagger thru its streets
in ballooning trousers and straw hats from which long
ribbons float. In a sunny nook on the docks an old salt —
Wallace Beery or George Bancroft — will be lounging.
At the entrance of the Pilgrim's Inn a noisy group will
58
stand, persuading a recruit, well plied with grog, to ship
for foreign ports.
Altogether, it was an amazing experience for 1926.
And when I returned to my native habitat of Hollywood,
the sight of speeding automobiles and the flappers in their
abbreviated skirts struck me with dumb wonder.
Hollywood.
Dear Majesty :
Ceom the maritime scene of the early nineteenth century,
which I endeavored to picture for Your Majesty in my
last letter, I took a radical departure and went with an-
other Paramount company into the midst of the Arizona
desert.
Here, on a waste of sand, stretching as far as we
could see, under a sun which caused the thermometer to
register as high as 115 degrees in the shade, a square
mud fortress had been erected for the battle scenes of
"Beau Geste." There was a grimness about this desert
which impressed us immediately upon arrival. And
before we left, the desert had taken its toll. Diph-
theria and dysentery — dread monsters that had lurked
•concealed among our company, came out now and
boldly attacked us. One extra player died ; many were
ill for days. The disabled were removed to hospitals in
the nearest towns and everything was done to alleviate
their suffering.
The picture went on — for pictures must go on, just as
a circus performance must continue, altho the lions have
eaten their trainer. At night, after work, some of us
would gather in Ronald Colman's tent and try to drive
away the evil genius of the desert by making disagreeable
sounds on musical instruments. Ron torments the har-
monica, Ralph Forbes can blow an eery blast on the
bugle, and Neil Hamilton is able to torture a saxophone
until it groans in agony.
The Duke of Connaught visits Rex
Ingram at Nice during filming of
"The Magician"
Here's a surprise! The one whiskerless gent of this trio is
Albert Smith, of the famous cough-drop company. The others?
George Bancroft and Wallace Beery of "Old Ironsides"
By Don Ryan and Frederick James Smith
"Beau Geste," as Your Majesty may know, is a story
of the French Foreign Legion. Much of the action takes
place in the Egyptian desert. There is a Bedouin attack
on the fort, a spectacle rendered more grisly by the
silent, beating sun and the vast expanse of deathly
wasteland.
Hollywood.
Dear Majesty :
I/'nowim; well the interest Your Majesty has expressed
at various times in the social life of Hollywood — so
different from the quiet evenings on Your Majesty's
beautiful Island of Oz — I shall endeavor to remember
something of what occurred on the fete of St. Patrick's
Day, as it was celebrated at the Beverly Hills domicile of
Lew Cody.
Lew is one of those rare bohemians who appreciate
comforts. His place is called the Old Boot and Goat.
This name conveys the atmosphere of the house. It is
like an English inn of a past generation. Stairs lead
downward to a rathskeller, half under ground, the walls
are hung with rare old theater programs and photographs
of famous players long since dead.
The elite of the film world — as the society editor would
say — were present that evening. Around the oaken table
in the center of the room were gathered Renee Adoree,
Renee's sister comique, Priscilla Dean, Gaston Glass,
Hoot Gibson, and Charley Ray. wearing a dinner suit
with a green necktie. In an ingle-nook sat John Gilbert
and Jack Pickford, exchanging confidences. John Steel
came over from the Oq)heum and sang for us. The fare
provided by the hospitable Lew was none of the cream-
puff-and-tea variety such as Pola Negri might dispense,
but rather good baked beans and onions, roast fowls, a
shoulder of ham and scuttles heaped with corned-beef
hash.
Lew had to excuse himself at midnight and retire to
his chamber. He had just received a call to "be on the set
at nine o'clock." Lew was engaged at that time on
Metro-Goldwyn-Mayer's picturization of "Toto," the
stage-play immortalized by Leo Dietrichstein. Lew in
the beard and earrings of Othello should be a new thrill
for his many girl admirers. There is plenty of subtle,
sophisticated acting in the story, the >ort of acting in
which Lew Cody excels, but M-G-M has been careful t"
give it a nice sweet ending, which successfully demoli-lie-
the spirit of the original.
Hollywood.
Dear Majesty :
|r I may be pardoned the pun in Your Majesty's pres-
ence, I should say that John Gilbert promises to be truly
magnificent in "Bardelys the Magnificent," the story
from Rafael Sabatini's novel which is being directed by
King Yidor for Metro-Goldwyn-Mayer.
I saw Jack working in one of the scenes as Bardelys
and was impressed by the perfection of his art. The hero
of "The Big Parade" was in quite different dress and
mood. His dress was a leather jerkin trimmed with
silver braid and a sword at his side. He was stained with
mud and gore, having just come thru one of the numer-
ous encounters in which this story of adventure in the
picturesque years of the seventeenth century abounds.
As I sidled up to the scene, the fugitive Bardelys, hid-
ing in the house of his prospective father-in-law. came
to the grilled door separating his lady's bedchamber from
the balcony on which he stood, and peered thru.
The eyes of the wounded lover, hungry with desire.
searched the room. His eyes sent their appeal thru the
grilled aperture so potently that his glance seemed fairly
to crackle in the charged air. The door opened slowly as
his hand moved the latch and the splendid, bedraggled
59
Jack Holt and his family, including Betty and Jack, Jr., who
used to be called Tim. The children returned to Hollywood
recently from a trip East
Lois Wilson returns to Los Angeles and
is welcomed by her younger sister,
Constance
figure crossed the threshold — moving into the camera for
a close-up — large, passionate, yearning. Not acting —
living. From the hardened juicer at a stand of lights a
sigh and "Gee !" Highest tribute to acting that takes its
place with the best on the screen today.
Under Vidor's direction "Bardelys the Magnificent"
is taking form as a dashing, romantic piece — no effort
to psycho-analyze* anybody — merely a rattling good ad-
venture story, but done with artistry and authenticity
that should attract the discriminating as well as the in-
discriminate of movie-goers.
Hollywood.
Dear Majesty :
W/£ weary writers of the screen have our moments- of
. relaxation. I have already told Your Majesty some-
what flippantly how we enjoy these precious moments at
the Writers' Club.
But joking aside, the Writers have been producing a
string of excellent one-act plays. Indeed, these theatrical
inventions of the Writers are about the only amusement
for sophisticated amusement-seekers in a desert of plays
and pictures designed to capture the interest of the eight-
year-old mind. Harry Singer, head of the Orpheum
circuit, went so far as to remark to me recently that the
Writers' plays present the best acting in America at the
present time.
There was an amusing evening at the Club on April 1.
The announcement said that Washington's Birthday and
the return of Major Hughes (who is being groomed for
a colonel of reserves) from the War College would be
celebrated simultaneously on this evening. Indignant
protests were received from Sons and Daughters
of the Revolution, but the celebration went on just the
same.
After dinner the curtain went up and on the stage at
the end of the assembly room was presented the Wash-
ington's Birthday Exercises of the Rupert Hughes
Grammar School. Donald Ogden Stewart, that uncanny
Scot, was the principal. Our President — the Major —
responded by telling us the low-down on his widely
quoted Washington's Birthday speech in Washington.
Major Hughes said that his speech, describing the Father
of Our Country as a Good Scout, was well received by
all the Sons of the Revolution present except one Son
who was slightly stewed. And it was this old boy who
made the holler because Major Hughes described George
Washington as a gentleman who would take a drink
occasionally !
Hollywood.
Dear Majesty :
Vour Majesty has often graciously expressed his curi-
osity at the amazing methods of motion picture manu-
facture. Here is another example of the mysterious
workings of studio minds.
William Fox is making "What Price Glory." Xow
when M-G-M filmed "The Big Parade," by Laurence
Stallings, joint-author of "What Price Glory," they had
the good taste to shoot the works. Titles and action gave
a realistic picture of the war. True, those movie-goers
unfortunate enough to live under censorship lost much
of the picture, but those fortunate enough to live where
there is still liberty of thought, enjoyed a cinematic
masterpiece.
It is Fox policy to make nothing that can be censored.
Now "What Price Glory" is all highly censorable —
from the distorted view-point of the average movie
censor. You would naturally suppose that Fox would
select an uncensorable piece to begin with, but that
is not the way things are done in the movies. In-
stead, we shall see an expurgated version of "What
Price Glory" with -most of the kick taken out. Fox
is filming a series of stage successes and it is not
beyond the range of probability that he may get around
to some of the masterpieces of Shakespeare and other
Elizabethan dramatists. If so — God help the Elizabethan
dramatists !
On the other hand, Fox can take a stage-play such as
"Pigs," have it adapted by a clever fellow such as Al
Cohen, and produce a passable picture: In "Pigs" the
leading man is Richard Walling. He was shooting still-
camera on the Fox lot when somebody grabbed him off
for the type-hero of this piece. Every film juvenile in
Hollywood had been tested and found wanting when this
youth, who never acted before, stepped into the part.
60
Between scenes of "Lovey Mary" Bessie Love
and Director King Baggott discuss the
weather
Remember the "baby" of "The Unholy Three"? Here he is
again visiting Douglas MacLean. Name? Harry Earles. Re-
member when he shook the toy elephant with the jewels inside?
iod.
Dear Majesty :
Ft looks as tho Warner Brothers are over the hill — for
the time being. The creators of Classics of the Screen
were very (.lose to the rocks during recent months. They
have just been subsidized by Los Angeles bankers to the
extent of two millions — not a large sum as money goes
in the movies, but enough, perhaps, to enable them to
break the strangle-hold which the Lasky-Zukor-Loew
combine had on their throats.
The Warner boys did a shrewd piece of business in
Raymond L. Shrock as associate executive to
function with Jack Warner in charge of production.
rock, formerly head of Universal, is that rare com-
bination in pictures, a business man who knows literature
and dramatic art. I am expecting a consequent improve-
ment in the quality of Warner Brothers Classics.
The Warners will lose John Barrymore after the pic-
ture on which he is now engaged. They have a flashing
new star in Dolores Costello. whom they wisely sewed up
with a long-term contract when the other studios would
have none of her.
Strange to relate, Helene Costello is a much prettier
girl ami possesses about the same talent as her favored
r, Dolores. But Dolores got the breaks in pictures.
Helene has the best part she ever was given with Ray-
mond Griffith in "Wet Paint" for Paramount. Both the
sister> were working as extras with Paramount at the
Eastern studio when the Warners picked them up and
put them under contract. Xow the Warners have the
pleasure of lending Helene at a goodly sum to her former
employers.
Hollywood.
Dear Majesty :
The first pieces to come out of the Universal-Ufa mill
are being awaited with curiosity by the celluloid critics
hereabout. One of the first of the new series to be made
under the hands-across-the-sea arrangement for exchang-
ing directors with Germanv is to be called "Love Me and
the World is Mine."
The title is indicative of a result that will be a strange
conglomeration. The title is American — the director is
the celebrated Continental. A. E, Dupont — and the origi-
nal story was "The Affairs of Hannerl," by Rudolph
Hans Bartsch, an Austrian novelist.
Mary Philbin and Betty Compson have leading roles.
The picture will be in the nature of a sequel to "The
Merry-Go- Round."
The German cinema has shown promise of a high
artistry. Is it going to be Americanized thru the efforts
of Carl Laemmle, or will it maintain its own integrity
while elevating the tone of Uncle Carl's American
product ?
Your Majesty can well understand why we await the
first of the cross-bred pictures with curiosity and some
little alarm.
Hollywood.
Dear Majesty :
Mot to be outdone by Metro-Goldwyn, Paramount and
First National, who have established their own houses
or made arrangements with chain theaters to display their
pictures, Producers Distributing Corporation have been
studying this merger business ever since they embarked
upon the idea of making Bigger and Better Films.
Your Majesty has seen the way the wind was blow
from the time Cecil B. De Mille became Producers' guid-
ing spirit. The Ince studios were acquired — and then the
Metropolitan. And just to keep the pot a-boiling, the
Christies hopped on the P. D. C. band wagon.
What was the result, Your Majesty? Why the realiza-
tion of one of the biggest producing plants in Hollywood.
But that is not all. The B. F. Keith vaudeville inter
have wanted to get into the picture field for many years.
For forty years the Keith organization has been engaged
in vaudeville, which under F. F. Albee's regime has
established itself solidly in all the cities of the country
What did this man Albee do? Why. he took his time
and realized that his opportunity arrived with Producer^.
So the powers higher up signed on the dotted line and
the film company as a result of signing their "John Han-
cocks" will have approximately four hundred theaters in
a chain extending from coast to coast.
With such an extensive chain Producers are assured of
exhibiting their product in first-run theaters everywhere.
61
/
1
"Up in
Mabel's
ROOM!"
Al Christie, master of the film farce, has just transferred
"Up in Mabel's Room" to the screen. This comedy was
looked upon as a bit rakish and peppy when it was
presented behind the footlights by Al H. Woods, famed
for his near-naughty bedroom farces
Piquant Marie Prevost plays Mabel whose lost — er — under-
garment causes a hundred complications at a house-party.
Harrison Ford is Garry, the other chief victim of the
complications
62
The Answer
[nan 1 lei i- we arc and an-
other month gone. Richard Uix is
playing in "Say It Again," which
formerly "Take a Chance."
U "Adam's apple is something
landed him that he couldn't
>wallo\v." Yes. and that's no apple
THE ANSWER MAN is at your tervice. If you
want an answer by mail, enclose a stamped addressed
envelope. If you wish the answer to appear in THE
CLASSIC, write at the top of your letter the name
you want printed, and at the bottom your full name
and address. Address: The Answer Man, Motion
Picture Classic, 176 DuPReld Street, Brooklyn, N. Y.
sauce.
Another Dixie Fan.— Your the-
ater is the only one that gave out
Harold Lloyd buttons. "For Heaven's Sake" has been
playing at the Rialto Theater on Broadway for the last six weeks
and is there at this writing. He surely has no equal. His next
will be "The Mountain Lad. ' with Jobyna Ralston.
Madeline 1'. D. — So you think it is warm enough for me to
have my beard removed. I wouldn't be able to answer these
questions if I did that. William Boyd is playing in "Her Man O'
War" with Jetta Goudal.
Edn \ D. T. — Your letter reminded me of the old joke — "Are
you the mate of this ship?" said a passenger to the cook." "No,
sir, 1 am the man that cooks the mate," said the Irishman. That
dates back to when I was a child. James Kirkwood is playing
with Laura Ijl Plante in "Butterflies in the Rain."
Kanga.— No, I never counted my vocabulary, but the average
man speaks about twelve thousand words a day. George B. Seitz
directed "The Vanishing American." See you later.
Blanche A. L. — Yes, Mabel Xormand is going to play for Hal
Roach, and she signed a three-year contract with him. She just
finished her first picture, "Raggedy Rose." What's this, another
club, "The Better Picture Club, 29 Fernwood Avenue, Rochester,'
New York," and you want me as an honorary member. Thanks.
Rollen. — Batter up! I should say I do go to see the Brooklyn
Dodgers. We head the list at this writing. Huntly Gordon is
playing with Lillian Rich in "The Golden Web" for Warner.
Yes, it is difficult to rise to the heights, but it is more difficult
to stay there.
Dorothy. — He must be a sad fellow that nobody can please.
Monte Blue has the lead in "The Brute," from the novel by
VY. Douglas Newton. So you liked Elinor Fair in "The Volga
Boatman." You write a very clever letter. Let me hear from
you again.
Anthony O. B. — Yes, I often think back to when I was a little
boy in short trousers. No, I never ran to school, I ran away
from it. Y'ou know, he that has led a wicked life is afraid of
his own memory. Mae Busch's last picture was "The Perch of the
Devil." Belle Bennett and Ian Keith have the leads in the stage
success, "The Lily,"' for Fox.
Edmund Lowe Fan. — Yes, I have my buttermilk every day.
I couldn't live without it. Barbara La Marr was born July 28, 1896.
H. B. Warner has signed a contract with Cecil De Mille for
one year. Dolores Costello will be starred with John Barrymore
in "The Tavern Knight."
Danseuse. — Your motto is very good, but here is mine Do
not all you can; spend not all you have; believe not all you hear,
and tell not all you know Well, I used to do the old-fashioned
waltz and the two-step. I wouldn't venture the Charleston in
public for anything.
Blanche B. — Eleanor Boardman's birthday is August 19, and
Philadelphia was her birthplace. She was a chorus girl before
she made her first screen appearance for the Goldwyn company.
Ramon Novarro was born September 20, 1899, and he played in
"Where the Pavement Ends."
Peggy. — You will see John Bowers in "Laddie" with Bess
Flowers. Until recently Miss Flowers' hands were photographed
in close-ups to be used as those of the stars. Betty Compson
and Mary I'hilbin in "Love Me and
the World Is Mine," with Norman
Kerry.
Lokktta P.— Here we are. I tried
not to disappoint you. Walter Miller
is Allene Ray's leading man. Ronald
Colman and Neil Hamilton in "Beau
Geste." Conway Tearle is playing
with Mae Murray in "Altar-, ol
Desire."
PaNSY. — Well, I guess I had a raise since that time. Anyway,
I am getting $15 per now. You want to see more of Rockcliffc
Fellowes, Louise Fazcnda has brown hair. But wait until you
sec John Gilbert and Greta Garbo playing together in "The Flesh
and the Devil."
S. O. S. Lassie. — Well, I've come to the rescue. Richard
Barthelmess is playing in "The Amateur Gentleman." That re-
minds me. A man is known not so much by the company he
keeps as the company he keeps out of. You want a picture of
Jack Mulhall.
Louise. — No, I wont tell you whether Betty Bronson is Catholic.
I dont know, and what's the difference, anyway. Next !
Baby B. — Yres, Anita Stewart is playing in "Rustling for Cupid"
for Fox. Standing still may be easy, but it means stagnation.
There is a lot I have to learn before I die. Antonio Moreno in
"Love's Blindness" with Pauline Starke.
Helen K. — My dear girl, remember that there is a warm, life-
giving sun behind that dark cloud, and that it must soon break
thru. That was Ronald Colman in "The White Sister." Mary-
Brian and Buddy Rogers are playing the leads in the Peter B.
Kyne story, "More Pay, Less Work." Run in again some time.
Sheikess. — You want a picture of Dorothy Seastrom. She
has been in the mountains for several months due to illness, but
is back playing in "Delicatessen." Isn't such a nice title for a
sick girl.
Mk. and Mrs. — Well, speaking of love, there is no house so
small that it hath not room for love ; there is no castle so wide
that it cannot be filled with it. Love can glorify mean things
and make lowly things lovely. Thomas Meighan is happily
married to Frances Ring. His next picture will be "Tin Gods"
and Metro-Goldwyn have loaned Renee Adoree to play opposite
him. Aileen Pringle and Norman Trevor also in the cast.
Polly Lee. — Well, the first picture in the world refers to "The
Transfiguration," by Raphael. Virginia Valli is playing in "The
Family Upstairs." Lois Wilson is to play with Ford Sterling
in "The Show-Off. " No, "Rose-Marie" has not been produced
yet, but Arthur Hammerstein intends to do it next year himself
with Renee Adoree as the lead.
Florence L. — Just write to Richard Dix at the Famous Players
Studio, Astoria, Long Island. I understand that Ernst Lubitsch
is to produce three pictures a year, for a period of five years,
and he is to receive a minimum of $150,000 per picture. Never
mind figuring how wealthy he will be at the end of the five years.
Cl'Tie. — George Lewis is playing in "His People." Blanche
Sweet is being directed by her husband, Marshall Neilan, in
"Diplomacy." I wonder if that is diplomacy.
Zoe C. — So this is your first offense. Welcome to the throne.
You say among those who bring undesirables into America are
smugglers and the stork. Yes, I guess it is often true.
Minnie. — We might as well get acquainted right now. Rudolph
Schildkraut is playing the lead in "The Music Master." What
shape is a kiss? Elliptical. (A-lip-tickle.)
Lily W. — Y'es, I certainly do like perfume. It takes about
50,000 roses to produce one ounce of attar of roses. "Morals for
{Continued on page 711
63
The Centaur of the Cinema
about who won the war. They say the
taxicab drivers won it, and after ridin' in
one of their taxis — say, did you ever ride
in one of these Paris taxis?"
We both paid a tribute to the dare-
devils who propel trusting Americans
about the streets of Paris at maniac speed.
Mix went on :
"I was in a taxi there and was ready
to go back to the ho-tel. Didn't speak
a worda French, but I waved my arm in
what I thought was the right direction.
There was a square thare with
a monument in it. I thought
I kept passin' that monument
too much and come to find
out, that taxi driver had been
drivin' me around that square
P
.(Continued from page 23)
even get themselves a monocle. But I
noticed the foreigners didn't seem to cater
much to these people.
"When I went over there, I didn't have
any intention of changin' my ways. I
wanted to see what that country was like.
I didn't see why I should try and be like
those people any more than they should
try to be like me if they come over here
for a visit."
An Aboriginal American
W:
hat I am try in to say is that Tom
Mix is an American — an aboriginal
American — undiluted by foreign influence.
As such he deserves a great deal more
respect and attention than the rest of us
Americans who, in spite of our native
language and habits, are pale copies, all,
of European models.
When I looked at Mix talking to me
in his dressing-room and
noted the big white som-
brero, edged in black —
which he was still wear-
ing— the vivid vest, white
riding breeches and the
polished boots, and then
examined my own reflec-
tion in the mirror I won-
dered which of us would
look the funnier to a vis-
itor from some other
planet. I was wearing a
suit that was a Holly-
wood tailor's endeavor to
imitate a New York tai-
^/(^v-AVo-^
Even Tom Mix was appalled by the Paris taxis
tor twenty minutes — faster 'n a locoed
bronc and pumpin' his horn all the time.
I had a hell of a time makin' him
understand I wanted to go back to the
ho-tel."
No Cosmopolite is Mix
IT here was amused disdain in his voice
when Mix related the ineffectual efforts
of his entourage to be cosmopolites in
strange metropolises. Mix is scornful of
any efforts by fellow countrymen who in
Rome try to do as the Romans.
"My wife and two of the gang bought
French dictionaries and tried to learn
French. I got along better by talkin'
English. I didn't even change any Ameri-
can money into their money. I always had
a waiter in the restaurants or the clerk
in the ho-tel who spoke English. And I'd
ask 'em to -turn the check into Ameri-
can money. When I accumulated a lot
of small change in French, I'd give it to
the kids.
"One day in a restaurant I said to the
gang, 'Now, you've been studyin0 French
so hard, let's see you order something in
French.' The three of them set there and
tried to order port wine and damned if
they didn't get asparagus !"
"It's funny — a lot of Americans go over
there — try to talk with an English accent
or act Frenchy. Carry a cane and maybe
The Honesty of Mix
■"The downright honesty of Mix struck
home forcibly as he talked in this
fashion. His honesty and a touch of the
pride of a man who is sufficient unto him-
self. A quality that aroused a tardy ad-
miration. A trait that explained a lot.
For instance, the outlandish garb affected
by Tom Mix. Come to think of it, his
garb is not outlandish — it is his native cos-
tume. Buckskins trimmed in beadwork,
showing the influence of the plains Indians.
Cowboys always wore such fancy garb
when they dressed up — overalls for work,
usually — but always the great sombrero of
finest felt and the boots as costly as the
purse could buy.
Mix was and still is a cowboy. The
fact that he has made a fortune doing
daredevil stunts before a movie camera
has not changed him one whit. If he has
spent some of this money in childish van-
ities— in putting his name in colored elec-
trics six feet high on the roof of his
cottage at Catalina Island ; in doeskin
riding breeches and a snowy white som-
brero to be worn with evening clothes ; in
purchasing the automobile horn of the un-
fortunate ex-Kaiser Wilhelm II as a play-
thing for his small son — if he has com-
mitted these and a dozen other barbarities,
that, too, is in character.
lor's idea of how an English tailor makes
clothes. And I had to admit that the vis-
itor from Mars, if he had good taste,
would decide that Mix was dressed more
practically and more naturally and much
more becomingly than I. His costume
fitted the figure. The coloration was bold
and symphonic. It was what should have
been our native American costume — what
the ignorant proletariat of Europe, addicted
as it is to the cinema, still believes to be
the American national dress.
To the eyes of those worshipful peas-
ants abroad, Tom Mix is the typical
American. They do not see the bespec-
tacled, slack-trousered, round-shouldered,
paunchy horde who, alas, compose the bulk
of our population.. Mix is the more mod-
ern equivalent of such a figure as Leather-
stocking. He is what we might have
been in America — except for our accursed
progress.
A Born Plainsman
Comebody told me once that Tom Mix is
of Italian parentage. His keen, swart,
hawk-like profile would bear out such a
conclusion. But his speech and manner
are those of the born plainsman and he
has a cowboy's provincial, half-humorous
contempt for the Latin races which "are
kinda hysterical and dont exactly know
what it is all about."
(Continued on page 82)
64
The Story of REX
onthwtd from m?-
ee ih<- great
wild Jtallion, the known
killrr " lie seldom dis
linted them, V
times hi- exhibition
wild fun seemed those
end incarnate
Famed as a "Killer"
Tiu\ word of tin- stal
1 m was brought to
lywood b> the Moi
brothei s, specialists
iding Western
sphere for motion-
ire companies. The
word came at an auspi-
- time on the Hal
h lot For months
.man had been
ching for a fit sub-
for a brand-new
wild animal
something that
would bo entirel) out of
the beaten path Rex
rounded like a good bet.
Jackman went to Colo-
redo to see for himself.
and was more than sat-
isfied.
The horse seemed too vicious to be
sported to California at that time, so
his first picture. "Rex, King of the Wild
Horses," was made there in the picturesque
terrane of Colorado.
It was originally planned to make only
the one picture, but Rex proved such a
n sensation that others soon followed.
"Black Cyclone" was filmed in Nevada and,
la-t summer, "The Devil Horse," the most
pretentious of the series so far, was filmed
in Wyoming. Now preparations are under "CuCH things as galloping madly across
r a fourth feature. country, rounding up a herd of mares,
"Making a picture with an animal that and fighting other stallions, are easy.
The Rex company on location for "The Devil Horse," with Gladys
McConnell and Fred Jackman in the foreground
me over this phone. This does away with
shouting that would only result in making
Rex too nervous to handle.
"Often, when you see Rex posed on the
crest of a hill far away, looking intently
into a hidden valley, there will be a small
herd of mares in that valley out of camera
range, carefully planted there to attract
and hold his attention.
Once Started, Hard to Stop
.ally trained," Jackman explained, "is
mparatively easy matter. But with a
brute as incurably wild as Rex, it's an en-
tirely different proposition. About all that
we can actually do is to let him do the
things that he really wants to do, that
come natural to him, and then fit the re-
sulting scenes into our story.
"After a long effort, his trainer has
finally taught him a few rudimentary com-
mands so that we can
at least slightly con-
trol his actions before
the camera. He knows
that 'Get going !' means
to start running ; that
'Stop' means just that;
and that 'Hold it' means
to hold his pose of the
moment. He chewed
four dummies into tat-
ters before he was
finally taught to push
a man with his nose
without taking a sample
bite of him.
"In fairly close shots,
Rex's trainer directs
him from just outside
the camera lines. In
long shots, which are
usually taken in very
hilly country, the trainer
is usually near the stal-
lion, but out of sight
behind the brow of a
hill. We carry a port-
able field telephone out-
fit on location, and on
long shots the trainer
gets his directions from
Those are in line with Rex's natural in-
stincts, and he does them readily. The
only difficult/ usually is to get him to stop
when we are thru. In fight scenes with
another stallion, both Rex and his opponent
are shod with rubber shoes and a protec-
tive leather band fastened across their teeth.
This does away with possible injury from
biting or kicking. Otherwise, they might kill
each other before we could separate them.
" I
mounted
bj a
inn '1 h<
herd the itallion
into control after mir . . t
hi- running
imetitnes,
hapm "■> t" feel pla
lii-'ll lead then on i<<r
mild t" fore th
Kit him afakmf
with Kex i
from being either a
ly or an efficient
est. I've teen dayi
when we thought we
wire lucky if we suc-
ceeded in getting a-
many a- two or three
usable scene*.
"1 dont believe that
Rex is really vicious.
He is only wild, with a
genuine and incurable
wildness that defies all
efforts to tame him.
We've never had a se-
rious accident in work-
ing with him yet. He
isn't handled by fear, but thru respect for
his trainer and others working with him.
When he is once shown that a person is not
afraid of him, and is not an enemy, that
person has little to fear from him so long as
he uses reasonable caution and common
sense when near him. The stallion's judg-
ment of human nature is infallible. Those
people whom he dislikes usually prove un-
popular with the rest of us eventually.
"Rex has been ridden by three or four
men, one of them being Yakima Canutt.
but he is almost useless as a saddle-horse.
He doesn't buck or pitch when a rider
mounts him. He either stands still, utterly
refusing to budge, or else heads for the
nearest wall or tree to scrape his rider
from his back. He is too inherently wild
ever to be saddle-broken."
Rex's Mate, Lady
Two other star boarders at the Hal Roach
ranch on Preuss Boulevard are "Mar-
quis" and "Lady.
Rex, Lady and their colt
villain and leading lady
respectively of the Rex
troupe. "Lady" is a
Kentucky thorobred and
was brought to Holly-
wood especially to play
with Rex. It proved to
be an equine case of
love at first sight, and
the little grey mare has
been Rex's mate since.
"Marquis," better
known on the screen as
"The Killer." is the
eternal villain of the
wild-horse pictures.
Like many screen vil-
lains, this vividly
marked black-and-white
"pinto" is absolutely
harmless in real life,
and is even somewhat
of a clown.
His screen battles
with Rex. however, are
as deadly serious as rub-
ber shoes and guarded
teeth will permit. The
enmity between the two
is deep-rooted and gen-
uine, in everyday life as
well as on the scree
65
Four More Authors
(Continued from page 25)
rights to what was left of the carcass when
the edible meat had been extracted. The
residue might make mighty good glue and
shaving brushes and imitation ivory. In
the case of my friend's novel, it had not a
movie in it, and failed as such. The public
did not even get good glue or shaving
brushes. The author was the only one
who got a benefit, handed to him on a sil-
ver platter, from the movie heaven — twice
the amount he received for his story legiti-
mately.
This indiscriminate by-product industry
that has grown up in the production of mo-
tion pictures is not particularly appetizing
for the box-office public. If they can ex-
tract a savory bouillon, or beef -juice, from
some beefy book, all well and good, but
glue and shaving brushes do not belong in
the great public dining-room at all. What
the motion picture-hungry public need — and
where are they not to be found today! — is
a special kind of animal, born, bred and
sacrificed for their screen table — that fits
their tastes, their palate, their appetite and
their needs. Some stories of some well-
known authors fill the bill of fare. Many do
not. While many artistic motion-picture
chefs — like Rex Ingram, for instance — can
make a dish fit for the gallery gods out of
a little fiction curds and whey !
VICENTE BLASCO IBANEZ
(Continued from page 25)
Senor Ibafiez's secretary met me and told
me that Ibaiiez had given instructions that
first I was to be shown all over the place,
no doubt so that I \should be prepared to
tell the world about it. There is a little
touch of Hollywood flourish about Senor
Ibaiiez. Imagine a childish quality of
pleasure as tho showing new toys and then
ignite it all with his combustible Spanish
temperament, and you will get an idea of
Ibaiiez psychologically.
Chiefly, was I taken to Ibafiez's own pri-
vate motion-picture theater, just finished.
Here is an ideal little movie theater that
will seat about two hundred people. It is
a separate concrete building and is as com-
plete in every detail as the little theater
around the corner in America to which you
and I go once or twice a week — except for
the familiar box-office. The walls were not
decorated yet, with the exception of posters
in English that announce "The Four Horse-
men of the Apocalypse," "Blood and Sand,"
"Enemies of Women," etc. The same post-
ers that attracted you and me to the origi-
nal productions. In this little theater,
Senor Ibafiez will entertain his friends and
guests with "personal" reels of his picture
plays.
"I like 'The Four Horsemen' best," he
told me. "See," he said, leading me to the
other end of his long study, "here it is in
bronze !" On a stand he had built for the
purpose, was a remarkable bronze group
showing the terrible four horses over-
riding the world. A small plate announced
it to be the "Gift of Rex Ingram, Director
of 'The Four Horsemen of the Apoca-
lypse.' "
"The future of the cinema?" he repeated
in very bad French. "Ah, who can say?
It is limitless. But, it must come into the
hands of the right people. Now — well,
now it is not going ahead very fast. You
see, there is no standard in the cinema —
the American cinema. It is mainly in the
hands of workmen and grisettes. There
must come a school — a school of definite
standards and a school of definite study to
attain those standards and maintain them.
Now, each man is for himself — and he has
little idea where he is going unless he has
great genius — like Rex Ingram, for in-
stance. Most of the directors are follow-
ing something that is being done over and
over, year after year. I dont ask that there
must always be something new, but I de-
mand that there be something progressive.
Here is a fine art being born! There is
pain in all birth, so perhaps what is, is
right. They always have the convention
to sell the films — that is one side of it —
they are not the artists, no. Why do the
artists not get together and set up stand-
ards? It is just as important that we
make good pictures as it is that we sell bad
ones. In the cinema is a greater Art — ■
hidden. It is waiting for intelligent stu-
dents and artists to unearth it. For that
there must be a school, and standards, and
generous co-operation."
WILLIAM J. LOCKE
(Continued from page 25)
you will find that sentiment running strong
thruout their length and breadth. There
is something clean and joyous about them
all.
"I was last in Hollywood when there
wasn't a camera in the place," he told me
when I asked him if he had ever been in
Hollywood.
"Oh, one cant be too hard on the films,
I suppose — no more than one can unjustly
scold a child. They have done practically
all my books at one time or another. 'The
Beloved Vagabond,' of course, which is
my favorite ; 'Stella Maris' was done by
Mary Pickford, you may remember? 'The
Fortunate . Youth,' 'Septimus,' 'Simon the
Jester' — you may have seen some of them?
I really dont care to go on record with my
opinions as to the merits of the produc-
tions. I'll leave you and the audiences to
judge for yourselves.
"However, I do think that in another
fifty years or so, pictures will be taken in
such a manner that they will need no cap-
tions either to tell the story or even to
assist in doing so. They will be more like
an act in the theater instead of being
chopped up into irritating bits. There is
too much going backward and forward.
I become confused even in following them
about in some of those enormous rooms
they always portray in the pictures, where
one must get it in segments and sections —
and, for the life of me, I can never tell
whether or not we are still in the same
room. There is quite too much galloping
about in them as they are. But as I said,
they are only in their infancy, aren't they?"
In which you get a perfect sample of
Locke's light, whimsical touch.
W. B. MAXWELL
(Continued from page 25)
we sat before a blazing fire in his luxuriou
London apartment in Kensington Gar
dens. "I consider the film situation in Eng
land tragic. That is about all one cai
really say about it — both the best and th
worst. And after that, there is nothini
but the American film left.
"I am convinced that all Englishmei
take a personal delight in seeing a realh
good film. Most certainly I do. However
after seeing a really good one, when
naturally return to the cinema expecting
a repetition of the treat, I am almost sun
to meet with something unutterably bad
blankly stupid and unspeakably dull. Tha<
makes me renounce the films for months ai
a time.
"I cant see why there should be thest
frightful ups and downs in the merit oi
the films offered to the public. I am well
acquainted with many of the leading Amer
ican potentates in the film world and j
know very well that they are actuated by
the highest motives and ideals. They want
to make great and noble pictures and do
not shrink from any expense in the pursuit
of their object, which may be remunerative
only in the event they achieve their worth}
object and ambitious end. A cynic might
say that they have already made so much
money that they dont mind throwing it
away, but personally I think that is vcrj
far from the truth.
"It seems to me that, in the American
idea of making films, there is too much
tendency to concentrate on big pictures, or
super-films, and so disregard the require-
ments of the less ambitious work. And so
it is usually the ordinary film that is so
atrociously bad.
"Personally — as I said in America once
and have been saying ever since — I believe
that in the divorce of the film from litera-
ture is where the trouble lies. The film
as a vehicle for the transmission of letters
to the multitude has really never begun to
be tested. The opportunity to carry to even
the masses of illiterate people the message
of the great masterpieces thru the simple
medium of pictures — that is the great point,
pictures — in motion, is simply incalculable.
From a literary point of view, then, I be-
lieve the possibility of the films is inex-
haustible.
"But I dont mean for a moment that I
think authors generally- — or most gifted
literary people — would be able to write suc-
cessfully for the films. Evidently the
writing of continuity in the construction of
film plays is a special and very difficult
work, requiring a great deal of study and
experience. Nor would it be worth the
while nor the time of successful authors
to attempt to acquire this art. But when
their expressionistic existence is being
translated into the film media they should
be freely allowed to offer their invaluable
advice, both in the preservation of the main
theme and the method of its illustration,
which is a secret that often belongs alone
to them as its creator.
"It is a dreadful thing to see a noble book
murdered on the film, as so frequently
happens !"
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67
She Reached for the Moon and Got It!
(Continued from page 33)
do this ?' or 'I wish I
had done that !' when
I saw it on the screen.
"After all, every
picture is simply one
scene after another.
In any given scene a
bit player may have as
much to do as a star —
but a star has this ad-
advantage :
"A bit player must
get over her character
and her emotion in a
single scene — all she
knows about it and all
she can show. She
stands or falls by that
brief instant before
the camera.
The Latitude of
Stardom
', A star may do some-
thing that is not
good in one scene, see
it in the projection
room, and say to her-
self : 'That's bad, but
just before this scene,
or just after it, I'll do
so-and-so and that will
lift the thing. May-
be no one will notice
that one bad bit, any-
way, in a host of other
scenes.' " _
She touched the
splashy purple planet
painted on the velvet
of her sleeve.
"Another item in fa-
vor of stars," she
laughed, her dark eyes
crinkling up in the way
that we find so fasci-
nating. "Clothes ! An
artist in clothes de-
signs mine — Travis
Banton. He under-
stands how to dress
me. He can take my
very nebulous idea for
a gown and create one
that surpasses my fondest dream. He
knows what sort of head-dress I can wear,
and I needn't worry about my jewels— I
can be sure they'll be exactly right for
each costume.
"I have a beautiful black gown — I'd
rather wear black than anything else when
I'm doing a scene that matters to me.
Every player has her favorite color, no
doubt, just as she has a special abhorrence
— mine is a certain shade of red."
A waiter served us a dainty luncheon
on the green-enameled table in the bunga-
low, and Miss Vidor's eyes crinkled again
as she apologized for not serving orchid
salad from orchid-decorated plates.
"They tried to call me the 'Orchid
Lady,' " she explained. "What have I
done to deserve that? But you really can
get orchid salad — it's probably made of
paraffine but it looks lovely. . . .
"I prefer human beings to exotic charac-
terizations, dont you? It was the most
'human' casting director in the business
who gave me my first lead.
"I'd just done Mimi at the time — Mr.
Vidor and I hadn't been in Hollywood very
long but I had confidence in myself, and
I wasn't afraid of Mr. Goodstadt — he
Florente Vidor, as she appears in her first starring vehicle,
"Love, the Magician"
seemed more like a friend than a casting
director.
"I admired Sessue Hayakawa, the Jap-
anese star, who was on this lot then, but
I thought him hampered by his leading
ladies. I told Mr. Goodstadt so. 'I couldn't
be worse than they are!' I said. 'They're
perfectly vile and it couldn't do you any
harm to let me see if I'll do.'
Won a Role with Hayakawa
"I— Ie tried to explain to me that Hayakawa
wouldn't need a new leading lady for
eight weeks. No doubt he thought me
quite mad. But. miraculously enough, the
girl who was playing the lead left after
working for two weeks and they let me
try it.
"I find that people in pictures are usually
reasonable about trying to give me a
chance at the things I'd like to do.
"I'd love to do artistic pictures always.
I have three very special stories in mind
that I sometimes dream of doing, and
maybe I shall get my chance at them some
day. At present producers think them im-
possible because they'd appeal to such a
small percentage of the public.
"I can see the producers' side. Pictures
must be made for the
people who go to sec
them. I know Mr.
Lasky and Mr. Zukor
and many of the others
would prefer to give
more attention to the
artistic thing, but they
are not making pic-
tures merely for pleas-
ure.
"A magazine is pub-
lished for a certain
group of readers — but
pictures are made for
the world.
"Still — one of these
days "
From the latticed
window of the bunga-
low we could see
groups of players
from her set strolling
along "Paradise Al-
ley"— Rue Enos, the
"frog man," with El
Brendel, featured
comedian from the
Winter Garden ; the
"Juggling Rianos,"
with one of the acro-
batic clowns; the
scarlet tunic of a
drummer flashing
against the yellow and
green of a Russian
dancer. "
"Call for work to-
night !" somebody said,
and a man in white
tights echoed him on
a higher key.
"That is where our
new quarters at United
are going to mean
something," observed
Miss Vidor. "We are
to have — or we hope
we are to have — real
kitchens in our little
apartments. We wont
have bungalows, but
nice little two-room-
and-kitchen apart-
ments. Think of the good hot suppers we
can get on our little stoves ! We wont
mind working at night then."
Homey Dressing-Rooms
Che turned back to the restful green of
the little room.
"Isn't it odd how we revel in the little
homey things that we used rather to de-
spise when there seemed no danger of our
ever getting our hands on our moon?
"When I was a little girl growing up,
I used to be laughed at by the family when
I mentioned being an actress. I was shy,
you see. I always talked very fast and very
much, not waiting for an answer, when I
went to parties or found myself in a crowd.
So people wouldn't know I was shy!
"But in spite of the family's laughter —
here I am. By luck, I sometimes think. I
believe Mr. Vidor and I were attracted to
each other because we both loved pictures.
We lived in Texas and knew nobody else
who cared for them as we did. As soon as
we were married, we set out for Holly-
wood. He wanted to be a director, and I
wanted to be a star. He worked the hard-
est— but I had the most luck — and so we
each have our moon todav."
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69
The Pace That Kills
(Continued from page 27)
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4»Bi AT ALL DRUG AND DEPARTMENT STORES iSJBj
plays, new movies, new concerts, new in-
ventions, new political situations, new mur-
ders, new discoveries, new strides in medi-
cine, surgery, psychology, philosophy ; new
propaganda for or against Prohibition . . .
hundreds and hundreds and hundreds of
thick columns that you HAVE to keep up
with if you are to be a Modern in any
sense of the word. If you are to have
any glimmering notion of what the man
next to you in the subway is talking about
when he addresses a chummy, unwelcome
remark to you some evening.
Keeping Up with Things
It would take, for we have estimated it,
the entire time and attention of any nor-
mal person to keep up with the new maga-
zines. What they are using. What they
are aiming at. The fiction and facts set
forth in staggering array.
Unless you are to sit like a mouth-open
moron when some little creature says to
you, "What DID you think of the next-to-
the-last article in the next-to-the-last issue
of Harpers?" You will have to read
Harpers. And ditto, ditto, ditto for all of
the magazines treating of general fiction,
movies, gland discoveries, ct cetera.
It would take the entire time and atten-
tion of any normal person to keep up with
the unstemmed flood of new books . . .
to be able intelligently to discuss Michael
Aden versus Theodore Dreiser or Ethel
M. Dell versus Edith Wharton. Not to
mention the fact that this same normal
person is supposed to dip now and again
into the poets ancient and modern.
Try and do it !
It would take any normal person's entire
time and attention to see all of the new
plays — no, only the "worth while" new
plays, operas, concerts, lectures and magic-
lantern slides on Palestine.
No human being has three entire times
and attentions. No human has more than
one.
And assuming that some thrice-gifted
individual does keep up with drama, litera-
ture, politics and Prohibition, there still
remain such items as family obligations. . . .
Sister Susie having a new baby, which
means the gift of a pacifier and a family
call . . . shopping, for we must remain
covered, if not gowned . . . social pleas-
ures or penalties, as one chooses to regard
them . . . the gift of leisure. . . .
How is it to be done?
And— the Stars!
NJow we come to the stars.
We talked with Douglas Fairbanks
the other day and he said, truly, that in
and about New York one cannot even
have a thrill of one's own making.
"Thrills in New York," he said, "are
forced upon you at the rate of one pe
second."
All of which, as we have remarked, lead
us to the long-suffering and too-often
maligned screen stars.
Screen stars are expected to know every
thing. If they do not know everything
they are labeled "Morons" without benefi
of a trial by their peers.
They are expected to be immediatel;
able to discuss anything, everything, sacrei
and profane, at the turning of the inter
rogative tap.
Interviewers and the Fan Public tur
up noses and right about face if the hard
working children of the cinema fail t<
know and orate eloquently about the funda
mentals of Theosophy, Freudianism, tb
precepts of Havelock Ellis, the bases o
Capital Punishment, the fifth chapter o
Genesis interpreted figuratively and lit
erally.
If John Gilbert cannot discuss the origit
of Love, the Lives of Plutarch, "Why W
Behave Like Human Beings" (if we do'
and the latest best seller by an authoress
he is branded as a dumb-bell. "Just an
other movie actor ... no brains, no brains
at all. . . ."
If Bebe Daniels cannot hold forth ir
flowing rhetoric about the Montessor
Method, the feudal system. Higher Edu-
cation for Women, Economics, the hidalgos
of Spain and the function of the thyroid
gland, the dear Public will say, "Oh, well.
those movie stars have sawdust brains . . .
we always knew that! ..."
And ... if these same stars are not
smartly clad, peppy in their various roles,
convivial, friendly, prompt to answer Tottie
Toddle about the Best Way to Enter Mo-
tion Pictures . . . again they are branded.
This time as "high hat," "ritzy," "up-
stage," or some such opprobrious term.
The Deadly Pace
Tt is the pace that kills.
We ask you, how can you expect it?
How can you expect it of anyone? How,
especially, can you expect it of the stars?
We marvel that they know anything save
Kleig lights, tissue-paper scripts, location
trips, personal appearances, fan mail, the
shopping they have to do for every sep-
arate production and the way their family
might look if they ever had time to look
at 'em.
Think it over. It cant be done.
Mary Pickford went to bed when she
last reached New York. Barbara La Marr
is dead. And in the past six weeks we
have personally heard D. W. Griffith, Carol
Dempster, Douglas Fairbanks, Mary Pick-
ford, John Gilbert, Adolphe Menjou and
Dorothy Gish all cry, "Take me back to
the Farm !"
The Celluloid Critic
(Continued from page SI)
The big family reunion breaks up into
little family reunions, and accompanying
their bickerings and sentimentalities the
spectator sees the action developing ro-
mantic episodes, a triangle or two, a lot
of war talk, a party or three given by
war profiteers — and plenty of symbolic
touches pertaining to the galloping steeds
—and what not.
The most tangible scenes are those
which involve the handling of the mobs.
Naturally, the players are submerged.
They become so lost in the shuffle that
not one (not even Jean Hersholt as a pig-
gish and priggish profiteer) is able to
appear real and convincing.
No Bull's-Eye Here
: Jxiversal didn't strike the bull's-eye
with "The Midnight Sun," which was
heavily exploited as a true picture of
Russian intrigue — Russ — passion and what-
not. To come right down to brass tacks,
(Continued on page 76)
70
The Answer Man
from page 63)
u is taken from the rttoi
Mori is "i <^. ( a il 1 >e Mille
kinK "lit bin pictures Hi-*
|| In- " I he Deluge," which will U-
N'oah's \ik
i I can -n you are .ill lor
. Vaughn
Brutus \ou waul to know whj .1
s death iv the mo,t terrible Be
makes laces and bust-.! til In.
John dilhert was horn Jul> 10,
Richard Dix's real name is Ernest
iter
Clair' Enjoyed your letter on the blue
\\ rite me again.
1 Well, 1 should say next to
n pa thy is the divinest passion oi
he human heart Read the interview with
Rogers in the May , lu2o, ' '
NlvKiiKKirv: B— That was Mary ^stoi
Betty Bronson is playing
Milton Sill- in "Paradise." Yes,
gri and Erich von Strohcim are
barred some time during the Sum-
ner in "Hotel Imperial," which von Stro-
,mi in to direct himself. Some com-
•ination.
HXLEN D. T. — Thanks again for the
vooderful book you sent me. So you liked
\anion Novarro in "Ben-Hur." It was a
;reat picture.
Mkku.iia. — Sorry I cannot help you.
Norma. — You want to know which
layer drinks the most. I have no way
if gaging the intake of players' beverages,
mt it you are referring to pre-Yolsteadian
.pirits, that's out !
Alice in Wonderland. — You say you
ire just a plain, common girl, dont dance,
■moke, pet or anything like that. You
iurely selected an appropriate name for
• ourself. You think Lois Wilson is a
■aving beauty. Wallace Beery is playing
n "The Greatest Show on Earth." Sounds
ike a circus.
Mary C— That was Carl Miller in "We
Moderns."
A. B., Chicago. — Your letter was quite
philosophical. He who imagines he can
Jo without the world deceives himself
nuch ; but he who fancies the world cannot
Jo without him is still more mistaken.
Greta Garbo and Conrad Xagel are play-
ing for Metro-Goldwyn, Culver City,
California.
A. B. — So "The Gold Rush" was shown
in your leading picture house 252 times
straight. That's some record. Chaplin
ought to buy that house.
Adelina. — Oh, Adelina ! You say why-
is the fourth of July like oysters? Because
we cant enjoy them without crackers.
Bang ! No, Valentino didn't use a double
in "Blood and Sand." Lois Wilson is to
he featured in "New York," by Sinclair
Lewis, a romance built around New York's
night clubs, cabarets, etc.
Apron- Strings. — That was Blanche
Sweet in "The Sporting Venus."
Robert F. — Bull Montana did play the
part of the ape in "The Lost World."
Ford Sterling is to be featured in "Louie
the 14th," which will be personally super-
vised by Florenz Ziegfeld and which will
have in the cast the chorus of Ziegfeld
beauties. "Kid Boots" is also being filmed
with the Ziegfeld girls prominent.
Dave H. — Yes, of course, I'm all for
Dolores Costello. She's a Brooklynite,
you know.
Millicent P. — Thanks for yours.
Barcelona. — Yes, Theda Bara has been
in a comedy for Hal Roach. She first
became famous in "A Fool There Was"
(Continued on page 79)
\ s I! Ml K
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More Impressions of Hollywood
(Continued from page 53)
they dont want us to see the pictures until
they are fixed up the best they know how.
And even so, they often overlook the very
things that have spoiled so many pictures
that might otherwise have been excellent.
There are two kinds of eyes : the studio
eyes and the outside public eyes, and they
are just as different as a Ford and a
Lincoln. But you cant get any studio man
to admit this. They think they know it all.
T told Louis B. Mayer, the Metro chief,
that I thought his company's supremacy
was to be challenged not by Famous
Players-Lasky or First National, but by
Joseph Schenck's United Artists. He said
that he thought I was right and also that
he hoped so. With Norma Talmadge,
Constance Talmadge, Buster Keaton, Ru-
dolph Valentino, John Barrymore, Gloria
Swanson'and so on he has a pretty good
start, says I, Louis Mayer is a very wise
and far-seeing man, and so is Joe Schenck,
and I am telling Jesse Lasky and Adolph
Zukor to watch out.
I/'athlf.en Clifford combines business
^ with her picture art, and, since she also
married a banker, she manages to eat three
meals a day. She has several very smart
florist shops, one at the Ambassador Hotel,
and since she is one of the most popular
ladies in Hollywood she does a flourishing
business.
A way back in the dark ages, say about
1913, we used to run pictures of Ollie
Kirby and George Larkin in our gallery
of famous players. They took me out the
other night to a preview of "The Wise
Guy" at Glendale, and after that a few
of us went to their home in the mountains
near-by. The picture was very bad and it
will need a lot of doctoring before it will
be fit for release, but the home of Ollie
and George Larkin was one of the cutest
affairs I ever saw and very artistic. And
neither of them has aged a bit. They have
been working in State Rights pictures
latelv.
* * *
\7ilma Banky lives all alone on a quiet
street in a beautiful home which she rents
furnished. She does not go out much and
has but few intimate friends and callers.
She was present at two large parties given
by Samuel Goldwyn but otherwise she has
not been seen out much. On those occa-
sions she did not seem to mix, but kept
aloof. She thinks that her foreign accent
and difficulty of expressing herself make
her society undesirable and she keeps aloof.
Yes, she is lonesome at times, and then
she reads. Corliss Palmer and I dined
with her the other night and we three spent
the evening together. She was dressed
very simply, almost plainly, and her man-
ner and appearance were that of a lady
high-born — a typical princess. She has a
soft, sweet voice, a pleasant smile and a
winsome personality. She is distinctly fem-
inine, rather quiet than vivacious, and sub-
dued rather than demonstrative. Her for-
eign accent is captivating, and her gocd-
natured distress at being unable to say
what she wants to say is quite enchanting.
If she has any deep emotions, any hatred,
contempt, hauteur, or anger, it is not
obvious. She is nothing like Lillian
Gish, yet she is the exact opposite of Pola
Negri. Lillian is frail and defenseless and
was made to suffer and be batted about;
Pola was made to rule a nation, lead an
army and put up a fiery fight for her
country or for the one she loves : but Yilma
was made for a gentle princess, to love
and be loved amid sunshine and flowers.
California is the land of sports, amuse-
ments, sunshine, motoring and gaiety
and out-of-doors. Prize-fights, yachting,
baseball, racing, tennis, dancing, bathing
and everything lively and athletic. As for
literature, art, sculpture, painting, opera,
drama, symphony, lectures, etc. — not so
much.
72
Cm mo m Chase, who is so funni in those
Hal Roach comedies, and who will
da) l><- making five reel features, iv
gulai fellow ufl screen. 1 lunched
«nh him recently and iuiUkIj would ■
lake hnn foi an aetoi He isn't even so
funny as 1 am ami that'* nut much Hi
ng the same path that Douglas
UllKIld (illlVltll .1 1 111 11.11 I \
traveled and within .1 yeai
' probabl) arrive .it the same dea
feature stardom
Cu\r. Hkih'k w.i^ m the same luncheon
, with Chase and myself and he
is an interesting conversation (not ".il" )
He, tiK>, looks nothing like an actoi
he ilu^ or talk like one. The)
are hoth natural, genteel, dignified and
« • •
"Dl'N -'l vv w'tn Jonn Barrymore and
^ Estelle Taylor, \\a> finished and pre
viewed some months - 1 write this)
and yel the) are taking .1 few more scenes
Sunday. Warner Brothers have al-
spent .1 small fortune on thi> pic-
ture, and let us all hope that they are not
"throwing ^»u i! money after had."
* * *
(~)\e of the best jokes I have heard is on
^ Corliss Palmer. Some time ago while
at a Marion Davies party she chanced to
fall in with a tunny little foreigner who
i n with a black ribbon and spoke
poor English. "'Are you in pictures:" he
asked, and Corliss said that she was just
beginning but had played a few parts. "Oh,
wont you help me to get in. too?" the
foreigner begged. "Please let me go around
with you to the different studios, and I
know you can help me. I long to Ik an
actor I must be a great actor."
I wishing to offend him. altho she
saw that he was well-looking and rather
pleasing and attractive, Corliss replied :
"I suppose you want to play such parts as
a musician, or a poet or a professor?"
Oh, no!" he replied in broken English,
"I want to play the great lover like Valen-
tino and Gilbert — I want to make violent
love to beautiful women — full of fire and
passion."
And thus thruout the evening the villain
still pursued her and repeatedly begged
Corliss to help him get into the movies.
Corliss did not want to hurt the poor
man's feelings and she felt sorry for him,
but somehow she got out of it, and did
not even remember his name, nor he hers,
and she did not see him again. The cur-
tain now rises on the last act. The other
day Corliss was in my office looking over
the latest Motion Picture Classic when
I heard her "exclaim, "Great Scott I" and
then laugh repeatedly. I looked over her
shoulder to see what she was reading and
it was a long, illustrated article about
Ernest Yadja, the famous Hungarian
dramatist, who has been writing screen
stories for Famous Players at about a
million dollars apiece. "Well, what do
you think of that !" laughed Corliss, "the
mean man ! But he certainly did fool me,
all right "
* * *
ropping in at the Mack Sennett studio
I ran across charming little Alice Day
who had just finished for the day. She is
just as cute and pretty off the screen as
on, and I am convinced from what I saw
and since heard that she is not only a good
girl but one of excellent morals, principles
and habits. There is nothing wild or loose
about her. She lives with her mother and
sister. Marceline, about three miles from
the studio, and she is very popular with
the younger set of high-class girls of
which Mary Philbin is one and who lives
only a few blocks awav.
D
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THE effect of many a Paris gown has been ruined by a bad
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Buy a cake from your druggist or toilet goods dealer, and
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If blackheads, blotches, etc., are already present, apply Resinol
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73
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I
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The Kid from Cape Cod
(Continued from page 57)
FRECKLES
Tells How to Get Rid of Tliese F&ly Spots
and Have a Beautiful Complexion
There's no longer the slightest need of feeling
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Simply get an ounce of Othine from any
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Be sure to ask for the doub'e strength Othine,
as this is sold under guarantee of money back
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74
"Come on, then. Let's shoot it quick and
get it over."
On board they went, pell-mell, stopping
not for fresh supplies nor changes of garb.
Straight into the teeth of the worst storm
in years they sailed.
In the brief intervals when the Esther
was not attempting to stand on her head,
or engaged in inventing a maritime step
for a sea-Charleston, it was discovered
that the two compasses on board disagreed.
They tried following first one, then the
other, and ended by becoming hopelessly
lost. Instead of the three hours they had
anticipated, time stretched to thirty-six.
At eight o'clock on the evening of the
first day, Charles, who was of the very,
very few who could still think of food as
something to be eaten, began to inquire
about dinner. The crew — who were, of
course, not sick — were also inquiring.
"Let's go down to the cook's lair," sug-
gested Charles. "If he's there, we'll make
him give us something — if he isn't, I'll
cook.!'
Takes Cook's Role
""There was nothing to eat in the cook's
lair, but there was a box of flapjack
flour on a shelf.
"If we can find some maple syrup "
planned Charles.
Somebody did.
From eight o'clock until past one next
morning, the juvenile lead of "Old Iron-
sides" stood by the stove and fried flap-
jacks for the sailors and those few others
who could look on a flapjack without
loathing. . . .
When Charles was on the high-school
team back in Massachusetts, he once an-
swered the question, "What are you going
to do when you leave school?" with the
words, "Go into pictures." The rest of
the team yelled "Yah — Sissy !" and other
things at him. So he prudently decided to
become a dentist. Besides, Hollywood is
a good many days' walk from Cape Cod.
However, when he was on his way to
register at a dental college, he began to
consider that all his pals were registering
at Boston University. After all, what is
life without pals? He registered with
them, for a four-year course in business
administration.
It appeared that three of these years were
to be spent at the U. and the fourth in
actual experience. When Charles reached
the fourth year, the authorities wished to
place him in an office at eighteen dollars a
week.
Hails from New England
"I struck for twenty-five," chuckled
Charles. "I told 'em I could go to
work for my father for that, and his work
was more interesting. He's a picture ex-
hibitor and has three theaters. They
wouldn't come up to twenty-five, so I left."
A chance to go out with a vaudeville
troupe playing one of his father's theaters
took the boy as far West as Fort Worth,
Texas.
"I had money enough saved either to go
home or to go to Hollywood," remembered
Charles, his laughing eyes on the sea,
giving me thus a profile view of his side-
burn-ornamented face, the profile without
the scars, which is as different as may be
from the profile with the scars.
"I decided on Hollywood. I went to the
studios, trying to get extra work, but had
no luck. I thought I'd crash the gates,
but the gateman always said, 'Where's
your check?' and I hadn't one. One day,
one of the boys who "knew the gateman
let me have his check and I flashed it and
got by while the other fellow said, 'H'are
you, Bill?' and sailed in without showing
his.
"I thought I had to have experience-
that they'd ask me questions. 'Who di-
rected you?' etc. But they never do ask
anything.
"Soon I got in as extra in most big pro-
ductions— 'Ten Commandments,' 'Hunch-
back of Notre Dame.' I worked a lot in
Poverty Row. Small independents would
make a picture in a week. Charles Hutch-
inson was usually the lead. Karl Dane wis
the heavy and I was the juvenile. Then
I'd go back to extra or bits.
"Fox was the first studio to give me a
part in a big picture. I was in 'Wings of
Youth.' After the first rushes, they of-
fered me a contract, but I thought I must
be good, so I wouldn't take it.
Discovered by Craze
,' A week later, Mr. Cruze sent for me.
I didn't see him the first time I went
to Lasky's, so I thought it was just one of i
those things and let them send for me
again. When I went to Mr. Cruze's office,
Walter Woods, who wrote the story, wa>
in the room.
" 'What have you done in pictures ?' Mr.
Cruze asked me.
" 'Nothing.'
"He talked to me a minute or two. Then
he asked: 'How's your physique?'
" 'So-so,' I said. I felt contrary, because
I thought it was all a form and they didn't
mean anything.
"He made me take my things off. 'How
about your back?' he asked.
" 'Not so good,' I said, but he seemed
satisfied with it.
" 'Would you be afraid to play scenes in
the rigging of an old sailing vessel?' he
asked.
" 'No. I was born near Cape Cod, and I
used to dive off the riggings of ships in the
harbor when I was a kid.'
"I noticed they gasped when I spoke of
Cape Cod. The chap in the story is from
Cape Cod. I didn't know that then. Fi-
nally, they decided I was the man they
wanted, and after a while Fox let them
have me, and here I am.
"And what I'll do when it's all over and
I have to go home, I dont know!"
He looked up at the Tripolitan fort,
rising in gray-green tiers above us. in the
peace of its palms and the menace of its
cannon. Pirates in striped turbans and
baggy red trousers dangled pointed shoes
over the walls, and here and there a ragged
slave slept in the shadow of an embrasure.
Adventure. Excitement. Romance. . . .
"Come on, Kid!"
Tim Cruze came back from shooting at an
J elusive wild duck lurking about the
Esther at anchor in the cove. Wallace
Beery appeared from beneath the coat
where he was sheltering his shaven head
from the sun, and George Bancroft tossed
his long bob out of his eyes.
"Come on, kid!" bellowed the last
named. "Come back to your Uncle George
and your L^ncle Wrallie!"
Charles Farrell. as he was buckled back
into his iron belt that bound him to his
"Uncle George," smiled his happy smile.
"We've got to stick together, boys !" said
the youth, who is said to have the most
promising future in Hollywood, as they
manacled Champion Godfrey to the other
end of the chain.
And the four started gaily into the
j
Big Pictures and Little
Ones
({ ■ h om h'-i'
tlu-\ had been started, grew out oi
bounds, and were th< o( extra
il , .in- Until proved tu he ti mm
phant successes, artistically and com
merciallj as well.
Here were two ..w^, then, wherein qua!
it\ u.is alio wcil u> predominate. Ii "The
red Wagon" and "The Big Parade"
had been produced in the usual manner, in
foui or m\ weeks' time, and delivered to
the exhibitors on a scheduled date, two
memorable pictures would have been lost
\s it happened, James Cruze in the one
and King Vidor in the other, weir
free reign and allowed to run. The
theii spiints have been enoi
mously profitable, to producers and public
alike.
Ii you look back thru the list of movies
that, for one reason or another, have
ed a position in the Hall of Film
Fame, you will find almost no program
pictures They are essentially creatures
of the moment, sold across the counter for
what they would bring — a..d speedily for-
gotten
It is not the money, or the size of the
sets, or the number of extras that makes
a big picture big. It is the amount of
intelligent effort that goes into its pro-
duction. Artists who are compelled to
punch a time-clock cease to be artists.
they are converted into machines, and their
products become as mechanical and as
thoroly lacking in originality as so many
Ford .
The great triumphs of the movies are
achieved by the craftsmen who take a
ire pride in their work. They are
the men and women who produce the big
pictures.
They Say—
(Continued from page 8)
screen, and less oi hokum and hunk: would
like more of real womanhood, and les
flapperdoni — (every community of the
United States, including those located in
the "sticks," has plenty of flappers of the
home-made variety— in fact, is fed up on
the nuisances ) ; would like to see more
of "home-folk" and less of the "upper
ten" stuff.
Editors alone can not bring this about,
nor can patrons alone do so ; nor yet pro-
ducers alone. But I believe that if editors,
patrons and producers get together, they
can bring about a vast improvement in the
movie industry, and do it in a compara-
tively brief span of time.
John- Bristol,
P. O. Drawer 142.
Vernal, Utah.
Huzzahs for the Handsome Heroes
Editor. Classic:
I think that Mr. Edwin Meyers started
something in the May number of Class u
when he put up a plea for Milton Sills,
Conway Tearle. Thomas Meighan, et al.,
as against the young and handsome lovers
of the screen.
Men just cant understand why- women
admire young and handsome and romantic
men. They do not know that the hero
of every woman's dream is young, and
handsome, and romantic. And yet, on the
other hand, men themselves admire young
and lovely girls ; and the girl of their
dreams, for whom some of them are even
(Continued on page 84)
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76
Fame Came to Chaplin With
Borrowed Clothes
(Continued from page 37)
should arrive at a decision to make it
part of a forthcoming comedy. It so hap-
pened that Charlie Chaplin was one of the
players picked out to "do his stuff" in the
shots which Sennett intended grabbing.
The very nature of the manner in which
scenes must be filmed made "rush" the
order of the day and Chaplin scurried
about the studio to don a hasty make-up
for the Baby Parade film. In his haste
he found no time to put on the clothes he
had used in his first Keystone pictures.
Hurriedly he annexed a derby hat and a
flexible cane. Then came the need of
trousers and shoes. There was no time to
be lost. Looking around, he spied a pair
of pants which belonged to a generously
proportioned gentleman known as Fatty
Arbuckle. He proceeded to don the trou-
sers, wrapping them ineffectually about his
waist in order to reduce the balloonlike
effect which they achieved on his slender
legs. So much for the trousers. He still
required a pair of shoes. At that time a
fellow stock-company member of Chap-
lin's who answered to the name of Ford
Sterling happened to be the possessor of a
pair of stage-comedy shoes several sizes
too large to come under the heading
of "natty footwear." Chaplin donned
Mr. Sterling's mirth-provoking pedal ex-
tremities.
Thus equipped with a borrowed ward-
robe, he proceeded to make his way to the
scene of the baby-parade activities, where,
at odd moments, he ingeniously placed
himself in front of the Keystone cameras,
always making sure that there were plenty
of mothers and babies to serve as a back-
ground for his comic capers.
Came Fame
Co the shots were secured and, in due
course of time, found their way into a
single-reel release of the Keystone brand
and distributed by the then all-powerful
Mutual, a forerunner of the giant dis-
tributing companies of today. The picture
scored immediately with the exhibitors of
the country. Everywhere showmen and
exchange managers asked the same ques-
tion : "Who is the little guy with the
funny walk ?"
In shoes several sizes too large for him,
Chaplin shuffled thru the various scenes
in the picture, acquiring a walk which
was to become the most imitated of all
things of the screen. Children and grown-
ups alike sought to ape the Chaplin walk
of the actor in the borrowed shoes, which
flapped and spread in ridiculous fashion
as the comedian shuffled about, cane in
hand and shabby derby jauntily perched
on his head.
^ Picture after picture came from the
Keystone studio in which the "funny little
guy" continued to wear the make-up of
the Baby Parade offering. After each pic-
ture would come the flood of inquiries from
exhibitor, patron and exchange man, de-
manding the name of the player who wore
the flappy pants and the big shoes.
Those were the days when personal pub-
licit}' was frowned upon by the makers of
the various brands of pictures. Very few
were the names of the players known to
the fans. But the storm of popular ap-
proval which greeted each effort of Chaplin
finally forced the sponsors of Keystone
comedies to accede to public demand, with
the result that the comedian received his
first public mention in the press and also
on the screen.
The Borrowed Costume
I7ilm history does not reveal whether or
not Charlie Chaplin proceeded to secure
for himself a replica of the borrowed cos-
tume which he wore in the Baby Parade
epic. Undoubtedly, Messrs. Sterling and
Arbuckle, needing the shoes and pants in
their business, reclaimed their borrowed
comic paraphernalia. While the clothes
used by Chaplin gave him the first emphatic
push along the road of success, it is un-
necessary to stress the fact that his artistic
talents were and still are superior to the
mere detail of comedy wardrobe. The
flood of Chaplin imitators who assaulted
the screen following his first success dem-
onstrated this clearly. Affecting the derby,
cane, baggy pants and large shoes, they
sadly lacked the pantomimic abilities which
mark Chaplin as the greatest of all laugh
producers in films, whether wearing the
costume he made famous or arrayed in
conventional attire.
At some future time, should the great-
ness of the business of making motion
pictures demand a permanent monument
for its exposition and propagation as one
of modern civilization's most distinguished
arts, I believe that alongside of Billy
Bitzer's epic camera and Harold Lloyd's
historic glassless spectacles should be
placed the dilapidated derby and its com-
panion outfit of the original Chaplin
make-up.
So, despite the enticing tales of success
with which the Pollyanna scribblers regale
an aspiring public, I must stick to my
story that here is one man who achieved
limousines and a million-dollar income on
a totally different kind of borrowed capital
— old clothes.
The Celluloid Critic
(Continued from page 70)
it doesn't offer anything more than a
simple triangle — which could just as well
have been placed against an American
background — say, Hollywood, for instance.
There is nothing in common with Russian
life here — not even in the atmosphere.
Laura La Plante is the central figure —
but she belongs in light comedies. She
fails to touch the emotional chords as a
temptress who plays a Grand Duke against
the crass Croesus of St. Petersburg while
she develops a romance with an officer of
the G. D's guard. And in establishing
this romantic element the director misses
the dramatic possibilities entirely. He
just hints at the tragic note.
I can't remember a picture which has
carried more of an old-fashioned finale
than this one. It resembles the early
Biograph period in its mad melodramatics
or heroics.
But through it all Pat O'Malley man-
ages to act with authority and under-
standing in his role of the Grand Duke —
and George Siegmann gets plenty of char-
acter into the part of the wealthy Tartar.
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A
A Blonde1 from Pittsburgh
Myce Mills, .iii' i the bcaul l had
.iii>1 gone, found hi i
hi its memoi ) "iil\ and ■ fi w photo
graphs ,.i doubl ml value, h ii nrobabli .
undei .!n\ i ii > umatani i i llu-ii had i"l
lowed li< i migrator) flighl i" New York
.mil tin I i uphill « Imili thai
landed her now ncai 1 1 1 » - top bul
mi iii. ins montl ntinuous disappoint
ment, <>i appalling dis. cut.
In one way, 1 1 » * - seeker after movii lame
must be like .1 1 ubber ball 1 1
must learn to rebound, ii> bounce merrily
back, after each time Fate hurls him 01
her up against the granite wall of
tered hopt s.
Miss Mills is a blonde, It is inevitable,
perhaps, that she would be, as .1 foil for
tin- darker charms oi her male colli
gentlemen seven stars nt brunette t > 1 >■.- ,
it is said, always prefer blondes or those
nearly blonde. It is the law ui opposites.
It seems, too, t" have been a season for
blondes, when one considers the spotlight
of interest that lias lieen east upon such
golden-haired personalities as Vilma Banky,
Norma Shearer, ■•/ (//.
Playing Opposite Dix
kLYCi \!nis is ideally suited, we think,
tn the rule she is playing in "Say It
'again," for the picture, as it happens, is
.1 sort of serio-comic treatment of the
Princess-Mythical kingdom- American hero
hodgepodge that nourished during the
early part of the Twentieth Century and
has only been heard of since in places
like libraries. Miss Mills is the heroine
ui the opus, while Richard Dix is the
heart-smashing hero, and a lovely heroine
she is to his masculine charms.
ll had been three years at least since
we'd seen Miss Mills, and water, we knew,
had a way of rolling in great quantities
under bridges as time passed.
"You're not married?" we asked, rather
thinking that she was.
She shook her head with a luminous
smile. "No," she told Us. And then, lest
we misunderstand, she added brightly, "but
I've had lots of chances." Watching her,
we found this easy to believe.
"You were wise," we told her. "to stick
tn your career. Marriage should he sec-
ondary.''
But she shook her head doubtfully.
"I'd like to think so." she said, "hut
T*m afraid I'm too much of just plain girl
to feel that way. Somehow, marriage has
always seemed to me to he the most im-
portant business in life— the star to every
wandering moth! I'm a predestined wife.
I guess. And tho I've been busy with a
career for the past four years, it has always
• •(I to me as tho marriage was the
real goal toward which I was pointed in-
stead of screen fame.
"I got that rare thing called a chance."
she said. "I was cluing extra work, here,
there, wherever there was extra work to
lie done, when someone who had seen me
recommended me to Elmer Clifton, who was
about to start making 'Daughters of the
Night' for Fox. Mr. Clifton sent for me.
and my engagement followed. After the
Fox picture came m\ real chance with
B. P. Schulberg, for this was a contract
to appear in five pictures, including 'Faint
Perfume,' 'My Lady's Lips' and 'The
Keeper of the Bees.' Then came Famous
with an offer to appear in 'Say It Attain'
with Mr. Dix. and you can imagine how-
pleased I was.
"Curiously," she added, "my chance with
B. P. Schulberg followed an Elmer Clifton
picture as Clara Bow's did."
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She's from Alabam'
{Continued from page 35)
decorated and furnished it herself and
began painting parchment lamp-shades.
"It was the best-looking place," smiled
Dorothy, from the depths of the over-
stuffed chair in her newly acquired Holly-
wood home, "I got old rugs — on the order
of this one — and had them dyed black. Then
I did the place in robins' egg blue with
touches of orange. ... I bought this
house furnished and I think it's terrible.
But come back again in three weeks and
you'll be surprised ! . . . .
"I couldn't take care of all the orders
I had at the studio, but all the time in the
back of my mind was the idea of being
an actress. I used to spend my lunch
money on pictures — it was always pictures
more than the stage that interested me."
In that strange way most of us have of
reaching for the thing we want by pre-
tending to be reaching for something else,
Dorothy got to New York. Ostensibly
she went to take an art course, but when
she arrived, she hurried at once to an
agent's office to try for the stage.
Studied Acrobatic Dancing
"You'd better learn acrobatic dancing.
You must have some qualification
nowadays," one kindly soul told her.
Dorothy counted over her dwindling
funds. A course in acrobatic dancing
lasted a year at the least. Well, there was
enough to try a month at it !
"It was excruciating !" said Dorothy.
"They'd put me against a well and force
one leg up over my shoulder until the
tears rolled down my cheeks. Then they
stretched me and pulled me about while
I suffered agonies. I thought : 'It's
frightful — but if this is what you have to
do to get on the stage, I'll bear it.' And
then one morning I woke up and found
I couldn't get out of bed !"
While she was struggling with rebel-
lious muscles, a notice to the effect that
Ned Wayburn was selecting girls for a
fashion show came to her attention, and
as soon as she could force herself to dress
she made her way to his office, under the
mistaken impression that he was seeing
them there.
It was drawl that did it, for Dorothy
was so weary and discouraged, so sick
with the dancing outrage that she didn't
look particularly well.
"What's your name?" asked Ned Way-
burn, and when she had told him he di-
rected her to the hall.
Arrived there, she stood among all the
hundreds of gathered beauties and de-
spaired. Not for long, however. Ned
Wayburn appeared, silence descended and
his first words were :
"Will Dorothy Sebastian come to the
desk?"
"It seemed miles across the long room,"
confessed Dorothy. "I thought he was
probably going to tell me to go home and
I was scared. But he told the clerk to O.-K.
my name and I walked on air."
The fashion show lasted a week. In
the dressing-rooms Dorothy listened avidly
to the talk of the proposed George White's
"Scandals," the big event of 1924. Erte
had designed sets and costumes. It was
to overshadow everything that had ever
happened. Etc.
The girls were all selected — that was the
trouble. But Dorothy marched over to the
theater where rehearsals were to begin and
entered the stage door with the rest.
Landed in the "Scandals"
A slim man in spats, straw hat over one
■^ ear and cane over one arm, strolled
across the broad expanse of stage on which
groups were rehearsing and stopped before
Dorothy.
"What are you doing here?" he inquired.
"I want to see Mr. White."
"I'm Mr. White."
"Oh, dont kid me ! I want to see George
White."
"What do you want to say to him? Had
any experience?"
"No, I haven't, but I'm going to tell
him I have. I'm going to tell him I'm a
dancer and a singer and I can do any-
thing " (That intriguing "inny thing" !)
"But suppose he asks you to prove it ?"
inquired the man in spats.
"I can dance anything anybody teaches
me — and I can sing in a chorus. I know
I can do whatever he wants me to do "
"Where are you from?"
"Alabam'."
"Well, Alabam', I am George White
and I'm from Dixie, too! Go over there
and start rehearsing with the girls !"
Dolores and Helene Costello were in the
"Scandals," too.
"That's just the sort of girls we had,"
exclaimed Dorothy, her hazel eyes shin-
ing, "sweet and genuine and talented."
Costellos Also in "Scandals"
Tt was because Dorothy herself was seri-
ous about her future that she came to
Hollywood. Pictures seemed to her the
only thing that really mattered and she
set her brains to work to find the way in.
On the train coming out she heard that
Robert Kane was to produce independently
and that Henry King was to direct the
first picture, "Sackcloth and Scarlet."
"I'll be in 'Sackcloth and Scarlet'," de-
cided Dorothy ; and upon her arrival in the
city of stars, she donned her prettiest
frock, wrapped herself in the painfully
saved- for fur coat and strolled over to
United Studios.
It may have been the fur coat, but I am
inclined to think it was the Alabama drawl
that got her past the gateman and into the
office where the director was engaged in
casting.
The two gentlemen whose names begin
with K were likewise hypnotized into giving
the Southern beauty a screen test.
"They had me do everything Polly
Freeman does in the story," said Dorothy,
"only I had to imagine the top of the
mountain and the handsome stranger.
"Next day they telephoned me to come
over at once and broke the news to me that
I was to be Polly.
"'Oh, I couldn't!' I cried. 'Of course
I'd do my very best and ev'thing but I
dont know anything about pictures and
I might spoil it.'
"But they persuaded me to try and I
did.
"One day they put me up against a wall
with a light on one side and dark on the
other and told me to suffer. I had nothing
to tear, nothing to catch hold of, only
the light and the dark. After that scene,
Mr. Kane signed me for five years.
"And now — bless them ! — they've released
me to Metro-Goldwyn-Mayer and I'm
praying for a chance at sympathetic parts.
You see, on the screen I go sort of sleepy-
looking and blah, and they call that 'sex
appeal' and give me these terrible heavies
to do. A heavy may be all very well once
in a while, but forever !"
And I cant help thinking that when
Dorothy takes her Alabam' accent and asks
the officials out at M-G-M for a sym-
pathetic part — she'll get it !
78
A
The Answer Man
71 )
rcalh the beginning "i film
is |ila> mi; m " I he
I
N . ^ 1 know
1 >amcl> in "1 h I
Well. 1 1 iih ii kiit w .ill thai WDtnen
think, thej would U- twent) times more
B W h\ \ una Shearer has
lir and blue e\e>. and was burn
OJ
' mit Well, dentistry seems I"
women and alread) then
than 1,800 women in the United
ing tin- profession.
not married and never
Valentino's real name i-
Iph Guglielmi.
nks for the pretty Japa-
1 am alwa\ s glad t" hear from
IU.nkn I Why, Gertrude Olmstead is
lUty -contest winner, ami -die won rieht
aine from high school in La Salle,
She ha> chestnut -brown hair and
-. a lair complexion. In
nne Griffith's next picture. "In Her
dom." she plays the part of a twelve
girl. That's going back some — or
I wish you luck, but
you - i rule the l>ook agent di
upt a busy man; the man just gets
busy to tool him.
J. Warren Kerri-
gan and Give Brook are your favorites.
Who else but Tennyson could have said.
" Tis better to have loved and lost, than
Dtver to have loved at all"? Thomas
han surely is playing— his next pic-
ture will be "Prosperity.'' a dramatic story
of a man who tried to high-hat New York.
James E. — Your letter was a gem. Glad
to hear that you are improving. Esther
Kalston was born in 1902 and Mary Astor
in 1906. Esther Ralston and Clara Bow.
Louise Brooks and Fay Lanphier and
the Ziegfeld chorus are playing in the cast
of "Glorifying the American Girl."
-sie. — Crcighton Hale was born in
Cork. Ireland. < Hven Moore was born in
the land of Shamrocks, too. and lacks
two inches "i~ being a six- footer
hope I get a raise. Well. I'm getting $15.00
per week ; that keeps me going pretty
good. It takes all my money for butter-
milk.
Gerry. — Well, the best part of beauty is
that which no picture can express. Ronald
Colman was burn in 1SV1. Norma Tal-
madge was born in 1895 and Mary Pick-
ford in 1893.
Richie. — I >hould say I was glad to hear
from you. Write to me any time. If you
dont write me. I'll lose my job. Larry
Semon joined Yitagraph in 1913. and be-
came a star in 1915.
Francis. — Lawrence Gray, Richard Dix
and Adolphe Menjou are with Famous
Players at Astoria. Long Island, and Ron-
ald Colman and Lewis Stone, First Na-
tional Productions, 5341 Melrose Avenue.
Angeles.
Tessie B. — Tom Mix has two children.
Ruth, by a former marriage, is sixteen and
is in western pictures. Helen Holmes is
Mrs. J. P. MeC.owan.
Marion E. D. — Lloyd Hughes was born
in 1899 and is married to Gloria Hope.
Richard Dix and Richard Barthelmess not
married, at least the latter was once. That
Walter Pidgeon in "Mannequin." See
you next month! Station A. M. signing
off. It is now eleven-thirty daylight
ing time. Good -night.
(Continued on Pagt SI)
>
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New York
INC.
110 West 32nd Street
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SOUR LAKE TEXAS
Full Awards in Your Opinion Contest
(Continued from page 41)
Mrs. Natalie Wisbeck, 95 Stuyvesant
Avenue, Lyndhurst, New Jersey; Miss
Marion H. Hopkins, 2031 Bedford Ave-
nue, Brooklyn, New York; Mrs. M. C.
Ledbetter, 1041 Goodlet Avenue, Indian-
apolis, Indiana ; Orner Breitbart, Box 235,
Saddle River, New Jersey; Elizabeth W.
Robinson, 1832 Biltmore Street, N. W.,
Washington, D. C. ; Carolyn Barr, 5484
Everett Avenue, Chicago, Illinois ; Helen
M. Perkins, 2738 Webster Street, Berke-
ley, California; Ellen W. Hill. 3129 Hazel
Street, Erie, Pennsylvania ; Douglas F.
Mussinon, 806 Kirbert Avenue, Cincin-
nati, Ohio ; Madeline Glass, 2975 Leeward
Avenue, Los Angeles, California; Robert
McNeal Parsons, 315 West Monroe
Street, Sandusky, Ohio ; Ernest R. Wild,
1211 J/2 S. Kingsley Drive, Los Angeles,
California; Miss D. H. Chapman, 1582
Sanchez Street, San Francisco, Cali-
fornia; Betty E. Janover, 55 E. 100th
Street; New York City; Miss Florence
Cisch, 1757— 78th Street, Brooklyn, New
York ; Elaine Dennis Young, 55 West
Main Street, Norwalk, Ohio; C. M.
Faunce, 915 Mills Building, San Francisco,
California; F. Jurden Doxtater, 737 South
Burlington Avenue, Los Angeles, Cali-
fornia; Helen Buchalter, 1130 North
Capitol Street, Washington, D. C. ; Mrs.
David M. Evans, 1528 Morningside Court,
Hollywood, California; Mrs. J. Lawrence
Widmer, 9 Maryland Avenue, Annapolis,
Maryland; Mrs. Sara Worcester, 1411
Chapel Street, New Haven, Connecticut ;
Evelyn Fritinger, 11 Race Street, Wilkes-
Barre, Pennsylvania; A. G. Wilt, 162 W.
Hortter Street, Germantown, Pennsyl-
vania; Henry L. Belmont, 1323 S. 48th
Street, Cicero, Illinois ; Helen Miller,
3335— 18th Street, N. W., Washington,
D. C. ; Miss Grace Greenwood, 535 Hotel
Roosevelt, Washington, D. C. ; Lucille
LeClair, 206 Maple Street, Dayton, Ohio ;
Mrs. Helen M. Thorpe, 14-5 S. Carolina
Avenue, S. E., Washington, D. C. ; Roger
Searle, P. O. Box 403, Washington, D. C. ;
Ottilie Jerchower, 1486 Fifth Avenue,
New York City ; Alex Brook-Jackson, 4
Tooking Bee Gardens, Streatham, London,
S. W. C, England; Mrs. Vivian Elliott
Wood, 1526 N. 20th Street, Birmingham,
Alabama ; Miss Marchette Chute, c/o W.
Y. Chute, 738 McKnight Building, Minne-
apolis, Minnesota; Miss B. M. MacDon-
ald, 834 N. Ninth Avenue, Phoenix, Ari-
zona; Richard Renton, 1821 N. Alex-
andria Avenue, Hollywood, California;
R. L. Hensel, 758 Lincoln Avenue, St.
Paul, Minnesota ; Gerd Aage Gillhoff, 37
W 88th Street, New York City; Mr.
Abelle Reyes, 219 Grant Building, Atlanta,
Georgia; Leontine Brennan, 2731 N.
Prieur Street, New Orleans, Louisiana;
Miriam Allen de Ford, Box 573, San
Francisco, California; Ida Ruth Derrick,
Green Bay, Wisconsin ; Pat Morrissette,
947 Franklin Boulevard, Eugene, Oregon.
Fifty $5.00 Prises — Mrs. Mabel Clark,
1421 N. Poplar Street, Wichita, Kansas;
Lewis D. Flackler, 827 Maiden Lane,
Roanoke, Virginia ; Mrs. Howard Sevier,
Box 53, Tallulah, Louisiana ; Sara Low-
enburg, 1307 W. Girard Avenue, Phila-
delphia, Pennsylvania ; Lucy Sanborn Ly-
man, 705 N. 1st Street, W., Salt Lake
City, Utah; J. N. Fujishima, c/o Yonei
Shoten, Nichome Ginza, Tokio, Japan;
Mae H. Ashworth, 118 West Ninth Street,
Mount Vernon, Indiana ; Miss Veronica
M. Dolan, 400 Brown's Avenue, Portland.
Oregon ; Miss Peggie Ferguson, 9 Upper
Avenue, Eastbourne, Sussex, England ;
Agnes M. Wolf, 5215 Beaumont Avenue,
Philadelphia, Pennsylvania ; E. Van Tyne,
Covington, Virginia; Mrs. E. P. Daven-
port, 2804 Magnolia Street, Texarkana,
Texas; Mrs. L. P. Martin, 5281 Fourth
Avenue, Rosemount, Montreal, P. Q.,
Canada ; Miss Isabel Knight Hatfield, 3
West 8th Street, New York City; Miss
Maude Barragan, 701 Greene Street,
Augusta, Georgia ; Miss Man- Maxon
Davis, 420 Peebles Street, Pittsburgh,
Pennsylvania; Rosemary Clifford. Flat 1,
246 Gloucester Terrace, Hyde Park, Lon-
don W. 2, England ; M iss Dorothy Grace
Shore, 11 Dravton Gardens, London S.
W. 10, England; Kate Holmden, 408
Slater Street, Ottawa, Canada ; Leigh
Loveday, 93 Alma Road, East St. Kilda,
Victoria, Australia; C. D. Curren, R. D. 1,
Final Standing of Your Opinion Contest
PICTURES
Passion 16,819
Forbidden Paradise 7,139
Monsieur Beaucaire 4,576
The Birth of a Nation 3,190
The Covered Wagon 3,168
Robin Hood 2,640
The Ten Commandments 2,200
Scaramouche 2,167
So Big 1,133
The Thief of Bagdad 979
Manhandled 903
The White Sister 825
Peter Pan 792
The Sea Hawk 748
Broken Blossoms 740
The Hunchback of Notre Dame 725
He Who Gets Slapped 517
The Red Lily 506
The Merry Widow 462
The Four Horsemen 374
80
Fliiin.i. New York; Jiulv Stacy, \->>
HilKiili Wciuu i ' diiicnit, i uliloi in. i ,
K OX. ill. Nil Ktiil Street.
I'l'iiiivs hani.i , Helen Marie
Jelliffee, 55lJ I'niun Sim!, (jalesburg,
Mar> liryan, 11J I U..I, Si
Spi in^s, { uKii .ul" . I lull I
219 North Bakci Street, Cornell I
itj . I that a, New Yoi k . I 'raw • Rid
'ill Street. \.u York I
Harrj reitelltauin, 114 Hcillord Street,
uliu-MtN; 1 Iri lull (.•
18 Strain! Street, Krederiksted, Si Croix,
\' I . Mis Ko.swell Howell Cobb, Box
. Birmingham, . Mali. una ; I I \\ \>li
ii IhI Vvemie, Philadelphia,
sylvania ; K! M. liriue, 11 Sunshine
I, Upiai l>.ul>\. Del Co., Pennsyl
i; \ I Cohei V- 4d SJH, San
gtin. California ; Donna M I yean,
enidji, Minnesota; Mrs. W 1' Stanley,
n i. Bi ookl) ii. New York ;
Miss Kathryn Slieekey, -'-' 1\<>^-. \\iiuie,
Nyack, New York; Mi-*-. Marie Sandhaus,
1005 North Jiul Street, Springfield,
Illinois; Millieent M. Spicer, 14ln Avenue
K. Brooklyn, New York; Dorothy Evelyn
S Palatine Road. Northenden,
Manchester, England; (" ti Stergios, M
Marj Street, Cardiff, South Wales,
: Britain; Marie Doud, 1818 East
3rd Street, Long Beach, California; Ber-
nadine Wright, 4_'l VV. Monroe Street,
gfield, Illinois; Helen Daniel, Bahn-
ville Road, Newburgh, New York; Laura
L).i>. Odin, Illinois; Josephine Bancroft,
TlO.i Lexington Avenue, Cleveland, 0
Mrs Alfred Gundlack, 547 Abbottsford
Road, Germantown, Philadelphia, Penn-
Martin II Herlic, P. O. Box
630, San Bernardino. California; Miss
May M Neville, P. O. Box 145'), Tulsa,
Oklahoma; Miss Lena Znamirowski, c/o
Mrs. Mattes, 201 Hoyt Street. Brooklyn,
New York; Walter A Ripley. St Francis,
Wisconsin.
The Answer Man
ntinued from page 79)
Aileen Pringle Fan.— It was Oscar
Wilde who said, "I believe that at thi
ginning God made a world for each sepa-
rate man. and in that world which is
within us we should seek to live." Thanks-
giving Day occurs on the last Thursday
in November. Aileen Pringle isn't mar-
ried now and hasn't any children. John
Gilbert and Ronald Colman are five feet
U\! in Bebe's Mann Admirers. That
Carl Miller in "We Moderns" and
George O'Brien in "The Iron Horse." So
you want to know the size of Gillie- Dove's
shoe. A bit out of my line, that. Many
thanks for the posie.
Flapper Peggy. — Ronald Colman has a
wife in England. Born in 1891 and you
think he is handsome. So do I. James
Kirkwood in "The Wise Guy" and Gloria
Swanson in "Personality."
r
Be Sure to Read the
MOTION PICTURE CLASSIC—
the Most Striking Magazine of the
i. It Teems with Romance and
Adventure. Its pages are alert with in-
teresting news and events pertaining to
the Celluloid World. It is the foremost
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contact with the people who make and
play in pictures. Order the August
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175 Duffield Street Brooklyn, N. Y.
Something DIFFERENT
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SHAMPOO
The Centaur of the
Cinema
(Continued from page .64)
Mix knows what it is all about — within
his own world. He makes no effort
to reach beyond it. There was in his
lazy dignity an unmistakable something
with which I was familiar — a something
which once known is never to be mistaken.
"In the servfee?" I suggested.
"Yes."
^Where ?"
"Well, I've always followed the wars."
"Well — just what wars?"
"Spanish-American "
"What !"
"Sure. I'm forty-seven years old."
His straight black hair shows scarcely a
thread of gray and the lean, toughened
body reveals no secrets.
"I've always kept myself fit. Work out
every day in the gym I got here."
It adjoined the dressing-room. A build-
ing labeled unnecessarily "Tom Mix Train-
ing Quarters," in great white letters. An-
other petty vanity of the cowboy grown
affluent.
"Then I was in the border wars a lot.
I was with Madero "
"Officer?"
"Oh, yes.' I was a colonel with Madero.
But " the eyes gleamed. "I was a first
sergeant in the U. S. Light Artillery."
There I had it. The something I had
recognized. Something in the manner that
is recognizable in any man who has served
in one of the mounted outfits of the
regulars.
An Adventurous Youth
IWJix was born in El Paso County, Texas.
He was a deputy sheriff in Oklahoma,
Colorado, and the Indian Territory. A
revenooer in Tennessee for a space. A
soldier of fortune in the border wars.
After he had attracted some local atten-
tion by winning riding contests and taking
prizes for bulldogging steers and other
cowboy pastimes, he got a job working in
a picture for Seelig. It was not a regular
picture with a plot — merely an advertising
film fostered by the beef packers, desig-
nated to show the career of a steer from
the time it is turned out on the range
until it comes to your table in the guise
of a sirloin steak.
Mix played opposite the steer in the
early scenes of the picture — while the ani-
mal was still lively — before it became a
sirloin. From this humble beginning he
was taken into one-reel Westerns, playing
usually a sheriff, a role with which he was
most familiar by that time. The astute
William Fox signed him for features and
suddenly the cowboy saw more money than
he ever knew there was.
Mix has never worked for any movie
firms except Seelig (which is defunct) and
Fox. He has a feeling of loyalty for the
man who gave him a career and producers
know it is useless to try to tempt him away
from the Fox outfit. Yes, it is laughable
to us — this idea of loyalty to a movie cor-
poration which has no more conscience than
a snake has hips, and which would toss
Mix over tomorrow if by some miracle
he was shorn of his box-office appeal.
This loyalty is just another of the primi-
tive virtues which soldiers, cowboys and
early Americans held in common. Mix
is in daily association with — his dressing
bungalow adjoins the bungalow office of —
Sol Wurtzel, chief executive of the Fox
West Coast Studios. But the cowboy re-
mains as free from the contamination of
movieitis as if he were still riding the
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know
Ncvci U-.es. a Double
I ed Mix w li\ lu di ublc
in the I >< »t »• ' Hints thai
tunil in his pi i - 'in Mix and i
i iibson arc about the onl) i ii
who donl proteci theii own bonei in tin ■
u.i\ . Iii. significant that t »» .t 1 1 n
tin \ were m
whit h most "i the i 'Ii' i - were not
1 asked about the double and 1 1< - said
"You know, the firm has been at me
again and again to do that."
"Well, wh) donl you? In thi long shots,
whei e it couldn't be dct< i ted
Mix looked embai raj
"I just cant bring mysell t<> it. It ain't
well, you were in the arm} you know
what 1 mean. It ain't shootin' fair."
lie groped among words, then came out
unexpectedly w ith :
"About all you can photograph is the
mental attitude, anj waj . 1 1 you fij
fight. If you ride ride. And mean it. H
■ ant do the things naturally, there's
no iim' doin' them at all.
"I use every physical precaution. I work
hard and keep myself tit because then
lots oi lights in pictures and you ha>
be so you can take a punch. And I use
every mechanical precaution when I do a
.stunt. 1 feel in the kind of a picture I
make that I'm carryin' a physical message
to the audience especially to tin- hoys in
the audience and I'm damned if I could
double-cross 'em ! I take every precaution
there is and I trust the rust to <iod!"
Mix's Chop Suey Film
JWTix had been working that afternoon
mi "Dead Man's Gold," a desert
cure — but the day's work had been on a
set at the studio. His preceding picture,
"Tony Runs Wild." featured the famous
trick horse, the same on which the Ameri-
can cowboy rode about the decks of the
Aquitania and up the steps of the London
city hall.
In making this picture Mix had one of
his numerous accidents. He has had so
many accidents, all recorded by the cam-
eras, that he has assembled six reels of
this stuff, which he calls his Chop Suey —
probably the most unique movie in Chris-
tendom.
The accident in "Tony Runs Wild" oc-
curred when Mix. falsely accused of bump-
ing off a stage-driver and pursued by a
posse, was to have escaped by letting him-
self down from a high cliff with the aid
of his trusty lariat.
"[ threw the rope around a rock," he
related, "a big rock, weighing about five
hundred pounds. The ravine was about
four hundred feet deep. When 1 was half-
way down, the rock crumbled. I fell
twenty-five feet and hit a ledge. But the
rock was comin' down on top of me so
I had to jump. I had to roll and turn and
landed in the bottom of the ravine. Tore
some ligaments in my leg."
I had seen him on crutches a few weeks
before: He was laid up for a fortnight.
And a double would have suffered the
rending of his ligaments for the trifling
sum of twenty-five bucks. The studio
officials must feel impatient at times about
the temperamental idiosyncrasies of their
star.
A Brother of the World Riders
Anh now do you begin to get the feeling
•^ of this American cowboy? Of this
hardy barbarian who caused amusement —
and some alarm — in the effete capitals of
the older world?
Dont you begin to sense him as the
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83
This is just one of the incidents which
SVfordaunt Hall
tells in his graphic and understanding
character study of Charlie Chaplin. The
world comprehends the figure which
Chaplin presents upon the screen. But
few have ever troubled to understand
the man himself.
Further Adventures
of Cella Lloyd
By John Held
And Other Features Presented for the
Entertainment of People Who Think
Ask Your Newsdealer to Reserve
the August CLASSIC for you.
vanishing American? The American who
once was, but who now lives only in the
celluloid records of our nation's brave
youth?
An American cowboy — clinking his spurs
with proper arrogance along the ancient
corridors of London's Guildhall — scorning
to change his American dollars into French
francs — flaunting his outlandish native cos-
tume before the Bulging eyes of the in-
habitants of Berlin. Taking a childish
delight in doing tricks with his horse on
the lawns of children's hospitals. Pre-
serving untarnished above the mud of the
trampled studio lot such quaint, old-
fashioned soldier virtues as loyalty, sports-
manship and a belief in God.
An American cowboy. A centaur.
Brother of the riders of the race — the
Amazons, the Valkyries, the Tartars on
their shaggy mounts, the Indians on pinto
ponies; sweeping in dim procession down
from the past. Rushing along the rim
of time with a flight of hoofs such as
come from the Roan Stallion of Robinson
Jeffers : "Riding the savage and exultant
strength of the world."
The Vanishing American. The Ameri-
can we all might have been, except for our
accursed progress. The American which
the ignorant and trustful proletariat of
Europe still fondly believes in, just as we
used to believe, when we were children, in
Santa Claus.
May Tom Mix keep them long in igno-
rance ! This the prayer of one whose head
hatches the futile maunderings of modern
America, and whose lax frame is concealed
beneath the hideous abortion of a Holly-
wood tailor.
They Say—
{Continued from page 75)
said occasionally to leave home, is cer-
tainly never plain nor middle-aged.
A woman may be a good and faithful
wife, and she may even be quite honestly
in love with her husband. But that doesn't
hinder her from admiring a handsome
man when she sees him, any more than
it means that her husband does not admire
a beautiful girl when he sees her. So
when the aforesaid wife goes to a picture
show and sees handsome Jack Gilbert, or
lovable Ronald Colman, or even the ex-
otic and much-maligned Rudy, on the
screen, she settles down contentedly in
her seat, and sighs blissfully, and forgets
all about the dinner dishes which are piled
in the kitchen sink awaiting her return.
Here at last is the handsome hero of her
dreams, she says to herself; and in a rosy
dream she sees him wade through inter-
minable and heartbreaking difficulties, and
finally get the girl in the end. For women
are incurably romantic. That's the trouble
with them, Mr. Meyers.
And men are incurably jealous. That's
the trouble with them, too. If they
weren't jealous they wouldn't care a bean
how many handsome Romeos there were
on the screen, nor how much their wives
and sweethearts admired them. They want
their wives and sweethearts to see and
admire only safe and sane men, because
then they would have no cause to be jeal-
ous of them. They forget that we can
see all the safe and sane men we want
to at home, and that sometimes we become
just a little weary of them, and go to the
movies to see the other kind. Women
dont want men to be safe and sane. They
feel that it isn't exactly complimentary
to themselves.
We do not go to the movies to see the
same sort of thing we can see at home,
(Continued on page 87)
84
What My Experiences
Have Taught Me
ntinucd from pagt 19 1
hum: hack is unavailable, Somctii
ttu- best ua\ to counteract erroneous im
iions is to >aj nothing about them,
ver) often a denial mean's that the
le business is stirred up .ill over attain
s mie bitter but valuable lesson 1
led sonic time atto Hut tin- wisest
to keep iu> private sell within
the foui walls oi ni) home or the homes
\ friends, to t»ivc im professional sell
itrainetll> to my public, .mil above all
iul not to s.iv an> thing that
be misconstrued. That's terribly
!:lt. almost impossible, lor .is 1 said
ilont think there is a person alive
who is completely ami altogether above
ich.
Of course, there's another problem —
knowing just bow much of me is m> pro
self, bow much of me I should
to my public In Paris, I ran into
ience that humiliated me at first
iiise the friends 1 was with couldn't
quite understand it and set me thinking
usl) afterward about how much of
me my audiences owned. We were danc-
lt one of the hotels when a young
rican who recognized me rushed up
to me, grabbed me by the arm, and calling
me by my first name asked me for a
My first impulse was the impulse that
any woman would have on being accosted
imiliarly by a stranger. I gave him
a freezing glance and turned away. My
friends were shocked and it angered me
that I should have been made the object
of this unpleasantness, but now I feel no
resentment, except with myself, in a way.
for taking down a young man who prob-
ably thought of me as one of the girls
from back home. Movie stars enter into
the home life of America ;i- intimately
nid pictures and funny sheets do.
Charlie Chaplin is recognized and loved
by boys and uirls as much as Tom Sauyer
or Rebecca of Sunnybrook Farm, and Lois
Wilson as much as Shaw's ( andida or
the cartoonical Gumps. I should have
been grateful for that feeling in my public
and there 1 was. actually getting "hot up"
over it. It's really very complex knowing
where the dividing line is.
Accused of Being "Up-stage"
I have been accused of being "up-stage"
because I looked neither to right nor
left of me when I appeared in public.
Hasn't it ever occurred to any one that
I'm human, too, that I feel embarrassed
when people stare at me, as if I were a
shadow come to life or a strange speci-
men of humanity? It makes me so self-
conscious to know that the way I dress or
talk or walk is being watched, that I go
out only when I have to. Experience has
taught me that it is advisable to leave the
theater a few minutes before the rest of
the audience does and to arrive a few-
minutes later if I want to avoid being
stared at. I dont think I've seen the end
of any play on Broadway this season.
At the Vale-Harvard football game. I
let myself in for what I considered unjust
criticism by one of the newspapers simply
because I left a little earlier. Thruout
the game. I could see heads turning
look in our direction and I knew from
past experience, that lots of people would
rush up after the game for a close look
at a "movie star in person." So my hus-
band and I and the friends who had in-
vited us to the game left shortly after
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»«H. HB-62, Oraaal A.a. ft SBth St. ©AS 1923 CHICAGO
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the third quarter. Already a group of
twenty or thirty was at the portal thru
which we had to pass. When we reached
there, the guard was telling the crowd to
disperse and we went with the rest of
them. Imagine how chagrined I was to
read in the paper the next day that I had
left earlier to attract attention, . that I
posed at the portal with my husband,
ostensibly to get a last look at the game
but actually (so the report said) to let
the game get a last look at me, that the
guard had cautioned me to move on, that
I had looked at him disdainfully and that
he had asked me again to move on !
The only contact I can have with my
public is thru my pictures and thru
my fan mail. From the 300 to 500 letters
I get every day from people all over the
world, I le irn the sort of pictures they
want to see me in. It is a sort of conver-
sation— they speak in their letters, I
answer in my pictures. An actress on the
legitimate stage sees her audiences before
her and hears their murmurs, their ap-
plause. Film actresses must get their
contacts by mail.
The Influence of Others
I began my career nine years ago, in the
popular Mack Sennett comedies, and
later I became a featured player in the
old Triangle pictures, where Cecil B. De
Mille noticed my work and offered me a
position as leading woman. For two years
I appeared in his pictures as a cross be-
tween a vampire and a leading lady, a new
breed for those days, when a vamp was
all bad and a leading lady was as vir-
tuous as a new-born babe. Tho I had all
the trappings of a vamp, mysterious coif-
feurs, loads of jewelry and long, slinky
gowns as exotic as any the screen had
seen, my parts were essentially sympath-
etic. I gave myself the appellation that
has somehow clung to me all these years,
"Clotheshorse." The clothes I designed
myself to suit the needs of the pictures,
and I want to correct the impression that
Elinor Glyn had anything to do with the
way I dressed. I know that Mrs. Glyn
is said to have taught me how to dress
correctly, but the truth of the matter is
that Miss Jeanie Macpherson, the scenar-
ist, collaborated with me in designing my
screen wardrobe for the De Mille pictures.
Those picturesque, trailing gowns were
worn only in the studio ; they were not
part of my private life.
People have asked me whether I re-
gretted playing leads for Mr. De Mille,
for the stigma of being a vamp has per-
sisted even down to the present, altho the
parts I play now — hoydenish schoolgirls,
gauche waitresses, Zazas and Sans-Gencs —
are as different from my earlier roles as
characterizations can be. No. I am as
glad today of my experience with him as
I was the first time he offered me a con-
tract to appear in his pictures — and that
was one of the real thrills of my life. I
consider Cecil De Mille one of the master
minds of the screen. He has probably
developed more talent than any man in
pictures. He is among the foremost tech-
nicians in the entire picture industry and
he knows the screen value of every look
and gesture, the effectiveness of every
color and angle. I learned more about the
technique of acting from him than from
any other individual. Only recently has it
been discovered that I could "act as well
as wear clothes." But Mr. De Mille
found that out several years ago, and told
me about it. While others were accepting
me as a Clotheshorse, he complimented
me on my emotional work, not on the way
I could swish a train or carry a tiara.
Elinor Glyn, as I said, had nothing to
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86
Ho \uth guidii
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|j |||S( ||>| I ,|\ II •
ni ol doins the tlmif • she disliked
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with attention to then psyeho
well -is their physical wants
n, too, I have m\ iatliil) to take
that must l>e looked alter,
utrse, m) screen work. Yet the)
the ver\ i ■■ toi s that have guided me
The) have given me the
ipetus to go ahead.
Miss Swanson's Marriages
It was the weight of all these responsibil-
ties that prompted mj eai '■■
s, I think Un fortunate!) I was mis-
in my choice. Still, I cant call m>
imoniai experiences mistakes Noth-
x a mistake that givi
preciation of genteel qualities.
years ago I wouldn't have been able
i/e. much less appreciate, such
• as kindness and sincerity and loyalty
and truthfulness and dependability as I
have found in Henry, my husband, but the
background of my earlier experience has
thrown his qualities into sharp relief, like
light against shadow. It is a sourci
• mt wonder and delight to me to see
these characteristics, never changing, solid
and inborn, not assumed like a pretty mask
to he cist aside later.
Henrj and 1 have a mutual love of
children, and Baby Gloria and Joseph, nn
two youngsters, adore him. It takes a
certain simplicity of soul and goodness of
heart to win the devotion of children :
their instinct for judging character is un-
canny in its correctness. And it is that
combination of goodness and simplicity
and genuineness that I prize most highly
in the world. That appreciation is the
real essence of what I have derived from
my experience.
They Say—
■'.tinned from page 84)
as Mr. Meyers suggests we should. Far
from it ! We go to the movies to get
awav from our humdrum surroundings,
and see something that takes us a million
miles away from ourselves, and gives us
something pleasant to think about next
morning when we are washing those left-
over dinner dishes. We love to spend an
hour or two with the handsome hero with
the marcelled hair and the burning eyes,
in the Never-Never-Land of which all
women dream, but which, alas, they never
find! Of course, we know it's too good
to be true, and when the show is over
we put on our hats and go resignedly
back to our every-day lives and our every-
day husbands. But we should worry !
There'll be another show next week!
Milton Sills, Conway Tearle, Thomas
Meighan, ct a/., are no doubt very nice
men. I have nothing personally against
them. I think they would be admirable
in their own place, playing nice, plain,
pleasant, middle-aged roles. But I do
not think they should be cast as heroes
and lovers, playing opposite and making
(Continued on page 89)
The Girl They Call
Tia Juana Red
Probablj no one knows hci real name. The) call hei ria Juana
And onlj one or two knovt Ihi storj . I In ' rowda applaud and « hen i
nigl i when she sings gay songs in thai little Mexican dance hall. And ii is
likely that t hi- proprietor him self knows nothing of the traged) thai co urred
when I i.i Juana Red took a few months off and wenl up to Hollywood.
Bert Ennis
knew her when she was in Hollywood. Ami the storj In till of her i- the
stuff of whit Ii teai - are made.
It Is More Than the Funny Walk, Derby and Cane
. . . that make Charlie Chaplin great, ft is more than the romantic profile
that makes John Gilbert the lover. And more than green eyes and a pen-
chant for wearing gowns thai brings Gloria Swanson her high place.
Elizabeth Petersen
goes back into the lives of these and other personalities and brings forth
what we believe explains the indefinable something that sets these few apart
as great.
A Hollywood Idyl
If Mary's and Doug's life together could be written, it would make the
most beautiful love stor} . . . the most perfect romance . . . ever told.
Here are Two with fame and wealth at their command. Yet it is to each
other that they look for their contentment and happiness. They have
caught something that words cannot sel down . . . something that no
amount of philosophizing or theorizing can ever explain.
Adele Whitely Fletcher
writes of their life together. She tells how, hand in hand, they face the bitter
in life with the sweet and find something in both which makes them better
able to cope with their tomorrows. Wither of them is afraid of life.
We especially recommend this story to those who have grown cynical
about perfect love . . . and marriage . . . and human beings. If you
have such a friend, place this story in his hands.
Would You Like to Live in Hollywood and Move
in Motion Picture Circles ....
Foolish question 9,999,999? Perhaps . . . But you can read Eugene
V. Brewster's pages every month. And that is the next best thing. Mr.
Brewster's bungalow in Hollywood has become a salon where the movie
people gather.
He goes to all the parties, too. He week-ends with the Talmadges at
Coronado. He lunches in the dressing-room with Valentino. He goes to
the tennis matches with John Gilbert or Colleen Moore . . . And he writes
of these good times in a casual, gossipy way which is delightful and enter-
taining.
There are other features, different and equally attractive, which space
forbids enumerating.
Reserve Your Copy of the August Motion Picture
Magazine at Your Neighborhood News-stand Now!
87
Every- day magic
Chairs that flop into beds . . . bags that suck
up dirt . . . tiny ticking things that count all
day long for you. Daylight any night just by
pushing a button. A stream that never stops
till you turn off a faucet. Any voice you want,
talking to you from a cage on your desk or
wall. Actions of yesterday, of people miles
away, going on on a curtain before you.
Stilled throats singing to you from discs;
distant throats singing to you from nothing!
Uncanny, daily magic — this, due to
national advertising. Advertisements have
given you flashlights, telephones, typewriters,
automobiles, cold creams, motion pictures.
They have given you new eyes, new ears, new
hands, new feet, new faces, new emotions.
They have urged such wide use, so lowered
prices, that almost wishes are autos, almost
beggars can ride. Thru advertisements
you've laid down the shovel and the hoe.
You can buy a whole harvest ready-to-eat in
cans. You've hung up the fiddle and the bow,
for a radio. There's little old-time work left
in this age of amazing short-cuts.
H
Read the advertisements in MOTION PICTURE
CLASSIC — they keep you to the fore of
modern life
Prop Boy to Star
{Continued from page 55)
In the little coal-mining village, he learned
to speak three or four languages. He at-
tended the immigrants' holiday feasts,
helped celebrate their weddings, was in and
out of their homes, as they were in and out
of his. The world beyond the foothills
from whence they came intrigued him. and
when he was barely high-school age he set
forth to see it.
Silhouetted against a great studio win-
dow in the Cafe Lafayette, the subdued
music of the orchestra playing for the
Fashion Show mannequins drifting across
the room, he recalled the days when he
was a peanut vender with Ringling Broth-
ers' circus.
Sold Circus Peanuts
"The clowns that were with us in those
days worked in 'The Devil's Circus'
last winter. I didn't recognize them at
first — it's so hard to tell one clown in
make-up from another — and I had no idea
they would remember a kid who yelled
'Peanuts, popcorn 'n chewjn'-gum ! Here
y'are for yer peanuts — frish roasted pea-
nuts !' But one day they came on the set
in white duck coats with 'Ringling Broth-
ers' written on white rolled hats — exactly
the way I used to dress — and walked up
and down, pretending to sell peanuts. It
certainly handed me a big laugh.
"I couldn't help thinking of the circus
when we made that picture, on account of
the cats — circus name for lions. The boys
around the circus were scared of the cats.
You'd never know what they'd do. Couldn't
trust 'em. And at night, their eyes shining
in the dark and their roars !
"After the circus, I did buck-and-wing
dancing in vaudeville.
"When Mr. Griffith was making 'Amer-
ica,' a soldier had his arm blown off. Neil
Hamilton and I went to neighboring towns
and raised a fund for him — I doing a song
and dance and Neil collecting the coin. . . .
Parts of my past are always coming up.
On Location in Virginia
"Qne of the nicest things that ever hap-
pened to me in pictures was the four
weeks we spent on location in Richmond,
Virginia, while we were making 'America.'
If ever I retire, I'm going to buy a small
plantation on the banks of the James River
and spend my declining days in the leisurely
city where money doesn't matter but good
manners do, where darky mammies tyran-
nize over the best families, and 'Marse
Robert' is as real today as he was in the
Civil War.
"When we were in Richmond, the play,
'Robert E. Lee,' opened. I'll never forget
it. The man who played Lee held the
stage for five whole minutes while the
people cheered and wept and clapped. Neil
and I — Northerners — sat with our hearts
almost hopping out of our throats — yes,
throats; I felt mine fluttering around right
here in my neck ! — not daring to look at
each other for fear we'd see tears. I
swear I never saw anything so moving as
that living love those people have for Lee.
"At dawn one morning Neil and I came
upon his statue, looking out over the city
from his green hill. Both horse and man
seemed alive as the sun touched them, and
I saluted. Any man who could leave a
memory like his !"
A particularly lovely mannequin was dis-
playing a gorgeous gown, or so the ap-
plause in the dining-room suggested, but
the Irishman's tribute to "the knightliest
of a knightly race" made seeing difficult.
88
His Off Screen Romance
Thadow romances on tin screen
(ulli'l i" I hai les compared to hi
U>rx I he l.idx hi the
,,,,1, in Italx She had heen in South
America foi loin years an.! had i "'in to
ironeck on a ximc
-\\ In dont wo no ovei to I
jrini'l suggested to i harles one evening,
\ gnl a strangei was on rom's porch
at tn st sight claimed anothei victim,
harles knew rikjht axxax that here \\ i
. -<\ tor whom he had lu-cn looking
en old enough to coax the first
,1 invisible hair on his upper lip. I ivi
delay due to her brother's
• ion to hasty marriages the txxo said
I "1 xxill" in the proper places.
It wjs S'eil Hamilton who insisted that
les come to I lollx xxood, and that he
welcomed is attested l>\ the (act that
the Macks have bought a home somewhere
between the mountains and tin- sea, and are
ilx inquiring about schools lot the
ninths old son ot the house !
irles doesn't go about telling how he
from prop box to leading man. but I
it the reason people gave him
their pet poodles or let him use the familj
heirloom- when he was the first, is the
son directors now give him a
of this season's best parts :
tuse they know he will take .are of
them !
They Say—
ntinued from page
love to pretty young girls. For no woi
frorr ■ - sixty could even for oni
moment imagine any one of them in the
if an actual lover.
And sec how inconsistent Mr. Meyers
lie says he wants the screen women
to be "exotic, different, strange, and tins
terious." lie thinks it is all right and
natural for him to admire lovely heroines,
hut cannot see that it is also right and nat-
ural for his wife or sweetheart to admire
handsome heroes. It is a poor rule that
work both ways, Mr. Meyers.
How would you enjoy seeing the plain
middle-aged character women taking the
place of the young and lovely heroines?
I think the truth of the matter really
is that it is neither plausible nor true to
life to think that the lovely young heroines
could actually fall in love with men like
Milton Sills, Conway Tearle, Thomas
Meighan, .•/ <//. In real life a love affair
or a marriage where there is a great dis-
parity oi ages is generally looked upon as
something unpleasant, if not actually re-
pulsive, and we arc always sorry for the
girl. 1 think that is why wc instinctively
dislike to see it on the screen. It is con-
trary to nature. Youth calls to youth,
not only in real life, but on the screen as
well. We have nothing against Milton
Sills, Conway Tearle, Thomas Meighan,
el al.. when appropriately cast. But we do
not want to sec them cast as the heroes
of the play, nor as lovers of young girls.
For they certainly are not herolike, and
young girls simply cant endure them.
I think men should never set themselves
up as judges of what women should or
should not admire in other men. because
they cannot do so fairly, any more than
a woman can do so in the opposite case.
Men cannot see other men thru a woman's
exes, and no man who ever lived knew
anything about a woman's heart. And
then, too. the personal (lenient is bound
to creep in, more or less.
Cecelia Galloway,
Portland, Oregon.
Hew Much Do
Ar lists Earn?
WOULD you like to earn ?100 a week as a commercial artist? If you like
to draw, you should develop your talent, for well-trained artists earn $75,
?100, ?150 a week and sometimes even more. Beginners who can do
practical work soon command $S0 a week.
The Federal home-study course develops your talent on a sure foundation
by the quickest possible method, and makes the work truly a pleasure. It is the
original, practical course in commercial art, created by men with more than 2^
years' experience in the field, and after 12 years of unequalled success today
stands supreme as America's Foremost Course in Commercial Designing. It con-
tains exclusive lessons from leading American artists, gives you individual per-
sonal criticisms on all lessons, and teaches you the methods that make your draw-
ings worth real money.
FEDERAL STUDENTS MAKE GOOD INCOMES
These are typical letters from many hundreds
in our files:
Byron C. Robertson, a Federal School grad-
uate, says:
"The reason why I enrolled with the Federal
School was that they had many students to
point to who had made good. Today I am on
the art staff of one of the largest illustrating
ins 111 America, receiving a salary of
(3,000.00 a year. It was indeed a lucky day
when I enrolled. The lessons by such great
Contributors as Coles Phillips. Edwin V. Brewer.
(has. !•". Chambers, and others equally well
known, are an inspiration and a decided help."
D. L. Rogers says:
"I found only one school that had real, sound
backing for all its statements and that was the
Federal School.
"From my experience I am satisfied the Fed-
eral School has t ho quality of education to offer
that pares the road lo success. I xx-ish to recom-
mend this course very highly and my advice to
who are earnest and 'game' enough to
work for bigger things in the commercial art
field is, 'Take the Federal Course.' "
Florinda E. Kiester writes us:
"Besides the good training I have received
from the course when I took it . you people have
always given me such wonderful help in my
work that 1 shall be proud lo be able to say I
am a graduate of the Federal School."
A letter from Mr. Lloyd Shirley:
"I feel as though my old days of drudgery
were a bad dream. Now I am earning S3R00 a
■id I have just started. This commercial
drawing is work I love lo do. If it had not been
for the opportunity of studying art in my spare
lime and the kindly interest of the Federal
faculty. I would never have gotten out of the
rut I was in. The practical, thorough, short
course 1 took with the Federal School made
my success possible."
Send Today for
"YOUR FUTURE"
If you are in earnest about your future, send
6c in stamps today for this book. It is beauti-
fully illustrated, tells every detail about the
Federal Course, gives you convincing proofs
of its merits and shows work done by Federal
Students. Fill out and mail
the coupon NOW, kindly
stating your age and present
occupation.
School
rof Commercial Designing
1034 FEDERAL SCHOOLS BLDG.
Minneapolis, Minn.
Please send me "YOUR FUTURE," for
which I enclose 6c in stamps.
Name.
Present
Occupation. .
(Write your address plainly
in the martin)
(America's Fbiemost School qf Commercial cMt
89
Youth and Romance and Adventure
YOU'LL find
all three in
MOVIE
MONTHLY.
The Magazine
with the Punch !
It comes to you
each month with
sparkling pages —
pages devoted to
bringing out the
new stars in the
film firmament —
and dedicated to
the idea of enter-
taining you with
live topics and
personalities.
There is nourish-
ment in MOVIE
MONTHLY.
Every article —
every picture
serves its purpose
— a purpose on the
part of its publish-
ers to please you
with the brightest,
most alert reading
and pictorial matter obtainable.
The Old West lives again and the
New West is brought forth in all of
its indomitable spirit.
The July issue of MOVIE
MONTHLY will feature a most ab-
sorbing fiction story, "How Holly-
wood Came to Lodetown," in ad-
dition to three live novelizations
of screen dramas.
The July num-
ber will continue
its Bandits of the
Border series with
Billy the Kid — one
of the most color-
ful outlaws that
ever pulled a gun.
There will be
virile articles of
adventure relating
how Comedians
Tumble for
Laughs and how
stars escape injury
or death in Thrills
of a Lifetime.
The July issue
will also feature its
popular Special
Player Section —
with four pages de-
voted to Harold
Lloyd. Just the
thing for your
scrap-book.
The Cowboy
Songs will continue.
And—
There will be several breezy inter-
views with Carmelita Geraghty,
George O'Brien, Louise Brooks and
Edna Marian.
The July issue will also feature a
pictorial array of Bathing Girls — in
addition to pages devoted to summer
pastimes.
V>>^
- -v
You Can't Afford
To Be Without
MOVIE MONTHLY
Order Your July Issue
NOW!
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90
EDWARD LANGER PRINTING CO., INC.,
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CLEVER women, fashionable women,
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W/ren Fourth
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the cannon are roaring out their
celebration of another day of
Independence and Freedom
— have a Camel!
Camels represent the utmost in cigarette quality. The choicest of
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Our highest with, if you
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■9 *
Weater iMovie Season
brings a Jeast of
Entertainment in Warner Productions
1 • ^
/IN commemoration of Greater Movie Season, Warner Bros, offer for the / J \
/delight of the American public an array of entertainment certain to
delight the fancy of every picture patron. Romance, adventure, drama and
comedy — you'll find your favorite stars in roles that will carry you to the
very heights of enjoyment. Truly you will not be seeing all that is fine in
motion picture entertainment unless you see these WARNER BROS, produc-
Ask the manager of your favorite theatre when he will play them.
\
tions.
An ERNST LUB1TSCH
Production
SO THIS IS PARIS
All chat the name implies. A sample of Parisian
life for those who have been there and those who
haven't. The splendid cast includes MONTE
BLUE, PATSY RUTH MILLER and other
favorites.
Footloose Widows
tiith LOUISE FAZENDA
and JACQUELINE LOQAN
Life and laughter; New York to Palm Beach and
back again. A rapid-fire comedy-drama that takes
its place as one of the season's most delightfully
entertaining pictures.
AHEROo/V/ieBlGSNOWS
ivith RIN-TIN-TIN
A story of the far north with the wonder dog of
the screen in a role that is a revelation even to
those who have seen this marvelous animal in
other great pictures. Every lover of dogs will
thrill to this.
JOHN
BARRYMORE
in the great adventure-romance
that is thrilling the nation
The SEA BEAST
with Dolores Costello
Directed by Millard Webb
BROKEN HEARTS of
HOLLYWOOD
with PATSY RUTH MILLER
Hollywood — that magic word. What it conjures
up in the mind of every aspirant to screen tame.
With one of the season's greatest cast of stars in-
cluding Louise Dresser, Douglas Fairbanks, Jr.,
Stuart Holmes and others.
The
•y»
Honeymoon Express
with IRENE RICH
From the play that swept the whole country. Now
in pictures with a great cast of favorites, including
Willard Louis, Helene Costello, John Patrick,
Jane Winton, Virginia Lee Corbin, Harold Good-
win and others.
The
PASSIONATE QUEST
with LOUISE FAZENDA
May M Avoy and Willard Louis
London and Paris — the world's centers of fashion
and revelry. Here is a story of surprising love in
the midst of it all. From the popular novel by
E. Phillips Oppenheim.
WARNER BROS. PRODUCTIONS
She Said She Was a Princess
The True Story of the Little Stenographer Who Posed as
a Spanish Princess and Was Feted by the
Elect of Hollywood.
This story is the stuff of which romance and adventure is made.
Perhaps you have read how this little girl fooled society, diplomatic
circles and filmdom. If so, you will be more than ever interested in
her true story. It took courage to do the amazing thing she did . . .
and now . . . what of her?
Read the truth about her in the September Motion Picture
Magazine.
THE STARS ARE NOT WHAT THEY SEEM
What is John Gilbert really like
. . . and Adolphe Menjou . . . and
Mary Pickford? . . . They are not
what they appear on the screen.
Gladys Hall
knows all of the stars about whom
she writes intimately. And you will
be fascinated and amused by the
frank pictures she presents of all of
them.
There is nothing in the world more
interesting than human beings.
If you dont agree with that state-
ment now you will when you read
this feature story.
HAVE YOU AN IDEA FOR A MOVIE?
Of course! Having the idea is
one thing . . . most important. But
the next thing you need to know is
how best to present it so that it will
reach the scenario editor and win his
attention. Agnes Christine John-
ston, the brilliant young scenario
writer, knows the ropes, as they say.
And she tells you just how to go
about submitting that idea you have
had for ages . . . and never sub-
mitted because you did not quite
know how to go about it.
A Map of Hollywood
There is such a vogue for the old-
fashioned semi-pictorial map today.
What could be more fitting and
proper than Hollywood and its en-
virons depicted in this manner?
Chamberlain
presents such a map . . .
Reserve Your Qopy of the
September Motion Picture Magazine
AT YOUR NEWSDEALER'S NOW I
^A>/7CW -/'/i.'/r/v-/
tL^-
D<D
Vol. XXIII
AUGUST, 1926
N<
Mordauni H.,ll \r,
Notable Features in This Issue:
tWE CHANGEABLE CHAPLIN
ITS THE PERSONALITY THAT COUNTS Tmmmi l..,,„- 18
How iii<- moat popular | ,i ability and noi
THREE WOMEN WRITERS CONSIDER THE FILMS //.mm Albert Phillips 20
i ill .mil May SlnclaJi
CAME ONE SPRING DAY; AND lllKN H. W Hanamann 22
1 inemann i i lething" 1 1 k . I i,v Eldon K
MASTERS OF THE MOTION PICTURE Matthew J,, 24
The second if a critical discussion >l
THE HAUNTED HOME OF MOVIE GHOSTS Robert Donaldson 32
ii the players past and present who worked on the Laaky !>'i. Drawings by Eldon Kelley
IT IS TO LAUGH Fred Gilbert Blakeslee 40
In which the author points out production errors ili.tt have been made Drawings by C. J. MulhoUand
The Classic Gallery 11-15
ly O'Neil, Huiitly Gordon, \lm.i Rubens, Vnn i Q. line Day
I Wonder What Became of Him Bert Ennis 26
Extras who have made good -and some others who haven't
Things That Will Never Happen K R Chamberlain 28
Only tour miracles can bring these things ab
The Disillusioned Director Madeline Matzen 30
The artistic and Idealistic Hugo H.illin has become discouraged in his effort to make beautiful pictures
Rod La Rocque (Portrait 31
"Bring Yer Ice Aroun' to the Back Door" . 34
New studi n Monro iii "Ella Cinders"
Pauline Frederick (Portrait) .... 35
Cella Lloyd Makes a Personal Appearance John Held, Jr. 36
The further adventures of Mr. Held's bathing-girl heroine
The Man Who Envies Bill Hart ... Hal K. Wells 38
Huntly Cordon tells how he lias always cherished .1 secret longing to rough it in the open like the cowl'
Edna Marian (Portrait) . 42
What It Costs to Be a Well-Dressed Auto . Warren Dow 43
The equipment of Reginald Denny's white sport roadster
Impressions of Hollywood . Eugene V. Brewster 44
The editor-in-chief tells his further experiences in the capital of filmdom
Gardner James (Portrait) 49
Ready On Your Mark Set! Go!!. 52
The Hollywood girls' track team
The O'Brien Boy Gets a Kick Out of Life Scott Pierce 56
An interview wit I Hrien
The Roost Where Roy Rests 57
Roy D'Arcy at home
H. R. H. the Grand Duchess . 62
New pictures of Corinne Griffith as she will be seen in her next picture. "Into Her Kingdom"
The Celluloid Cruise of the Continents 64
Players featured in Universal's 'round-the-world pictures
The CLASSIC'S Famous Departments
Our Own News Camera
The incidents of the film world told in pictures
The Celluloid Critic
The new screen plays in review
Flash Backs
Comments upon screen people and events
The Screen Observer Has His Say
Amusing gossip of celluloidia
The Answer Man 63
46
. Laurence Reid 50
L. R. 54
Don Ryan 58
Cover Portrait of Dolores Costello by Geo. Blackstock, from a Photograph by John Ellis
LAURENCE REID, Editor
Adele Whitely Fletcher, Supervising Editor Colin Cruikshank, Art Director
Classic comes out on the 12th of every month, Motion Picture Magazine the 1st
Subscription $2.50 per year, ia advance, including postage, in the United >
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Published Monthly by Brewster Publications. Inc.. at 18410 Jamaica Ave.. Jamaica, N. Y.
Entered at the Post Office at Jamaica. N. Y.. as second-class matter, under the act of March 3rd, 1S79. Printed in U. S. A.
Eugene V. Brewster, President and Editor-in-Chief ; Duncan A. Dobis, Jr.. \ nc President and Business Manager;
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Copyright. 192b, by Brewster Publications, Inc.. in the I'nited Stales and Great Britain.
CLASSIC'S Late News PAGE
\TLTESLEY BARRY, having reached eighteen
YY years of age, has gone in for matrimony.
The youth who won his right to stardom a
few years ago because of his funny face adorned
with countless freckles, married Julia Wood of
Montclair recently. The bride is five years older
than her husband. The young couple will spend
their honeymoon in Hollywood.
Constance Talmadge has arrived in New York
with her husband, Captain Alastair Mcintosh.
They will sail to England to spend a belated
honeymoon.
George Jessel, Broadway actor, has arrived in
Hollywood to begin work in the Warner picture,
"Private Izzy Murphy." Vera Gordon will be
cast in a character role in the same film.
Rumors are busy that perhaps D. W. Griffith
will go back to United Artists. He has one more
picture to make for Famous Players. D. W. was
one of the founders of United Artists along with
Mary Pickford, Douglas Fairbanks and Charlie
Chaplin.
Norma Talmadge has returned to Hollywood
from New York whither she had gone to hunt
for new screen material. The star is about to
make her last film for release thru First National,
"The Sun of Montmartre." After this is com-
pleted Miss Talmadge will join United Artists,
making as her first offering, "The Dove," from
the stage-play of the same name.
Florence Vidor
has been engaged
to co - star with
Adolphe Menjou
in the Paramount
picture called
"The Ace of
Cads," written by
that fellow who
was a nine days'
wonder for a while
— Michael Arlen.
Metro - Goldwyn
has started Rim-
ing "Tell It to the
Marines," with
Lon Chaney as the
star and George
Hill as the direc-
tor.
Matt Moore has
been signed by
Marshall Neilan
for an important
part in "Diplo-
macy."
The only "Red"
Grange is busy in
Hollywood in
making his first
motion picture,
"The Half Back,"
written by Byron
Morgan — the au-
thor of Wally
Reid's auto stories.
"Red" will play a
football hero —
LAST MINUTE REVIEW
"Good and Naughty"
THEY'RE still experimenting with Pola Negri. The latest
to try his hand in directing her is Mai St. Clair. From the
results obtained here, he, at least, seems to be the first of the
Americans to understand her moods. Anyway she succeeds in
investing her role with sympathy and understanding. Perhaps
it is because St. Clair directs in the Lubitsch manner. He has
something of the German's Continental manner. He approaches
his players as if they are sophisticated and able to understand
his demands.
To get back to Pola — well, she hasn't been blessed with the
best stories in the world. Having tackled emotional roles and
not done so well by them, she takes a fling at comedy. I'll say
she emerges as a first-rate comedienne.
Her new entry, "Good and Naughty," is an adaptation of the
French farce comedy, "Naughty Cinderella." It is not so sense-
less as the original and not so funny — but all things considered
it manages to be bright and amusing.
You needn't expect to find any new idea back of it. The
central figure is one of those dowdy individuals suffering from
suppressed desires. She is eager to spare the most likely mem-
ber of the firm from any scandal. Which means that she is
secretly in love with him. So she undergoes a transformation
in dress and character. Some may wonder where she got her
Paris finery — and who tipped her off to improve her appearance.
Aside from these errors the piece contains its share of spice
and speed — with St. Clair at his best in projecting some truly
marvelous close-ups. He employs his players for pantomime.
The idea develops into a marital mix-up — with everyone
having a gay time in a prankish, sophisticated way. There
seems to be some nonsense in the situations, but at that they
are recognizably real.
The acting honors do not go to Pola — they go to Ford
Sterling. He is a constant delight in his efforts to get in and
out of trouble. He has his facial expressions under complete
control — a lesson he learned in the Sennett college. The titles
are pointed and provocative of laughter. L. R.
and the plot will be similar to Grange's own spec-
tacular career. Mary McAllister will be the
leading woman.
Walter Pidgeon has been engaged to play op-
posite Norma Talmadge in her next picture.
Helene Chadwick has completed her starring
role for Hal Roach. This picture was accepted
by the star after a perusal of the story convinced
her that it would return her to the light comedy
at which she proved herself adept in "Dangerous
Curves Ahead."
Renee Adoree has announced her engagement
to Rudolf Friml, well-known composer of oper-
ettas. This will be Renee's third matrimonial
adventure and Rudolf will make his fourth
march to the altar.
Leatrice Joy has just received her final decree
of divorce from Jack Gilbert.
Allan Dwan, the director, has signed with Fox
— and will make "Summer Bachelors" as his
first production. The story is written by Warner
Fabian, the author who gave "Flaming Youth"
to the world.
Irene Bordoni, the stage star, had decided to
enter pictures, She is in Hollywood at present
undergoing tests for some future production.
Lois Wilson has sacrificed her long chestnut
hair so that she can play the bobbed heroine in
"The Great Gatsby," which is scheduled to go
into production shortly. Lois was one of the few
in pictures who
obeyed the old-
fashioned conven-
tions.
F. W. Murnau,
the director of
"The Last Laugh"
has arrived in
America. He will
proceed to Holly-
wood to direct
George O'Brien
and Margaret Liv-
ingston in "Trip to
Tilsit."
Phyllis Haver,
former Sennett
beauty, is cast in a
featured role in
"What Price
Glory." And Les-
lie Fenton will also
have a part in the
same picture. He
will fight the
world war for a
second time — his
previous experi-
ence having been
in "Havoc."
Lowell Sherman,
and his wife,
Pauline Garon —
both prominent in
pictures, have
sailed for Europe.
They expect to be
away two months.
6
_J
slntonio Moreno
ysiti
iA ^Jetrq^b/<^y/7-Picture
"More Stars than there' are in Heaven"
THEY SAY
FIRST PRIZE
A Plea for "Prunella"
Editor, Classic:
Will you pardon a little reminiscence in
order that a tribute may be paid?
Long ago, as screen years are counted,
it was apparent to those with seeing eyes
that the screen offers a field for fantasy
such as fantr.sy had not known. Absurd
sequences, savage satire and grotesque ex-
aggeration are recorded by the camera
with equal serenity and the imagination is
given a freer rein than was possible before.
In "The Cabinet of Dr. Caligari," "The
Thief of Bagdad," "Peter Pan," "A Kiss
for Cinderella" and "Beggar on Horse-
back" are seen something of a fulfilment
of the promise of the wider fields for
Pegasus that the screen offers — but I won-
der how many film lovers remember a
"screen fantasy that stands out in my mind
as being a pioneer.
I have in mind "Prunella." When has
such gossamer fancy been transferred to
the screen? — the key which was neither
"a door-key, nor a watch-key, but the
key to the garden gate" — Pierrot, dead-
white, before a dead-white table on which
lay a rose — the quay, in the manner of
Maxfield Parrish, with its single, floating
pennon of chiffon all down across its
horizon — the arched bridge over which the
players passed, flung high against the sky
and resting on the mists which arose from
the river — the "grotesquerie" of the stroll-
ing players — and Marguerite Clark — not
playing Prunella — but Prunella brought
down to earth from the poet's imagina-
tion, bewitching the camera with un-
dreamed-of loveliness !
Memory is faulty, but I believe that
Tourneur directed "Prunella" — and then,
in answer to an unmistakable box-office,
turned quickly to making Drury Lane
melodramas ! I suppose Tourneur was
French, both from his name and because
it would seem that only a Gaul could
handle wit and fancy with such unerring
delicacy.
That fantasy is a subtle and difficult art
is obvious. There are those
who say that Christopher
Morley, master of fancy that
he is, waded out beyond his
depth in his latest excursion.
Last season Basil Dean, sea-
soned with many theatrical
years, found, when he at-
tempted to stage Flecker's
gorgeous Oriental dream,
"Hassan," that it simply would
not behave and was continu-
ally getting out of his grasp.
I am one of those who found
the latter part of "The Thief
of Bagdad" tedious, lacking
that airy lightness which fan-
tasy must have if it is to en-
chant; and yet I know that
Mr. Fairbanks exercised the
greatest care to preserve its
glamour. Ofttimes, fantasy
lies just this side absurdity,
and if the maker of the fan-
tasy would create wistful love-
liness, he dare not step over
the dividing line, which is but dimly limned
and apparent only to those of rare aware-
ness. The maker of "Prunella" knew the
danger and was not guilty of trespassing.
Considering this, is not "Prunella" the
greater, both because of the subtlety and
complexity of the art of fantasy and be-
cause of the difficulties that must have
lain in the way in those pioneering days?
Merely to recall its beauty and delicacy is
to realize the possibilities of the screen in
the field of poetic fantasy.
S. Van Cree,
1009 Pennsylvania Avenue,
Tyrone, Pennsylvania.
SECOND PRIZE
A Voice for Sheer Romance
Editor, Classic:
Even way out here in the untamed West
(which in reality is very, very tame in the
small towns) we have ideas concerning
motion pictures and the actors and ac-
tresses thereof. I should like to voice
mine in your columns.
A queer little town, this is. I have not
lived here always. Perhaps that is the
reason I can see the queerness of it. It
is built in the forest — shut in from the
rest of the world by the mountains on
three sides and by the great Pacific on the
other. Nearly all the inhabitants are Swiss
dairymen, who gather in little groups on
the street corners and converse in loud
tones in their foreign lingos.
When we speak of the towns and cities
beyond our mountains, we use the expres-
sion "Outside." We say we are going out-
side to spend the week-end. It seemed
queer to me at first, but now I say it just
as the "Switzers" do.
We have one motion picture house in
our town. It is by far the best-looking
building here. The inside is really quite
artistic, and it is considered one of the
finest theaters in the state. It is under
splendid management, and we are usually
able to see the newer pictures as soon as
they are seen in Portland.
Here is my opinion — which is not in
The MOTION PICTURE CLASSIC is devot-
ing a page each month to the best letters from
its readers. The prize-winning letters for the
August number are reproduced on this page.
Fifteen dollars will be paid each month for
the best letter, ten dollars for the second and
five dollars for the third. If two or more let-
ters are found of equal merit, the full prize
will go to each writer.
Letters must be constructive and interest-
ing. They must deal with pictures or screen
personalities. And — please note — they should
be typewritten.
common with Mary Smith's opinion, as
stated in the June Classic — that when the
average person goes to the movies he likes
to see life depicted in a natural human
existence. That is not the case here. We
can look out of our windows and see the
forests ; we can go a few miles out of
town and watch a logging camp in opera-
tion ; we can see the ocean, ships and the
lighthouse; we can see cows — hundreds of
them ; and, we can see common every-day
courtships (if you will pardon that homely
expression) carried on between the Swiss
dairymaids and their unromantic barn-
yardish lovers ; we see people grow up to
become professional cheesemakers or real-
estate agents.
But, we do not get to see any Peter
Pans nor any lovers who act like Rudolph
Valentino, John Gilbert or Ronald Colman.
We want more of those pictures.
When "Peter Pan" was shown here, the
children had a half-holiday from school
and were permitted to see the show free,
thru the graciousness of the theater man-
agers. My little sister can still tell me
every detail of that show, whereas she
probably couldn't tell me anything about
the Thomas Meighan show which she saw
only last week.
Then, too, all the inhabitants of our
town always go to a Doug Fairbanks play.
Perhaps they lack the what-ever-itis that
makes people appreciate a work of art,
but they like those unreal plays for the
very reason that they are different from
the sordidness of real life. And I believe
there are many duplicates of our little
town.
Marge Baertlein,
Tillamook, Oregon.
THIRD PRIZE
More Relief from Reality
Editor, Classic :
I cannot resist taking issue with a con-
tributor to your "They Say — " page in
the June Classic, to wit, one Mary Smith.
She undertakes ^ to explain why different
film actors and actresses are box-office suc-
cesses, and in addition tells us
what the trouble is with some
of the stars.
The first statement of hers
I wish to take up is the fol-
lowing, "When the average
person goes to the movies, he
likes to see life depicted in a
natural, human existence."
Whatever that might mean.
If she intends to say that the
average person likes to see a
true representation of what
life actually is in the living
thereof, I disagree with her
most decidedly. What the
average theatergoer wants is
not reality, but a relief from
reality. They have too much
of it in their daily lives, and
find a deal of it that is not to
their liking.
People receive vicarious
gratification of their desires,
repressed and otherwise, thru
(Continued on page 91)
S
Discovered !
The Secret of Caruso's
Amazing Vocal Power
THIS IS AN AGE OF MARVELS. Wonderful scientific discov-
eries have changed our mode of living and our mode of thinking.
One discovery of tremendous benefit to all humanity is the discovery
of the principle of voice control by Eugene Feuchtinger, A. M.
His resulting system of voice development revolutionized old methods, and
changes voice development from a little understood art to an exact science.
More than that, it brings a Perfect Voice within the reach of every man and every
woman who desires a stronger, richer voice for either singing or speaking.
Prof. Feuchtinger's method is founded on the discovery that the Hyo-Glossus
muscle controls the voice; that a strong, beautiful voice, with great range, is due
to a well developed Hyo-Glossus — while a weak or a rasping voice is due to under-
development of this vital vocal muscle. A post-mortem examination of Caruso's
throat showed a superb development of his Hyo-Glossi muscles. But it required
years of training under the old method to produce this development.
You can develop your Hyo-Glossus in a much shorter time by Prof. Feuchtinger's
wonderful scientific method. You can take this training under the direction of the
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"The Songbird of the aces." Enrico Ctruso. The
richness, the fullness, the beauty and the as-
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Eugene Feuchtinger, musician-scientist, who
discovered the function of Hyo-Glossus in voice
production, and whose famous "Perfect Voice"
system has developed thousands of voices.
The Hyo-Glossus^
(Singing) Muscle
Diagram of the Normal Throat showing the
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Professor Feuchtinger's method is far
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His unqualified success with thou-
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MlMUIIlliniiniiiiinin iiiiiiuyiiiiiiini iininiiiiiiiiiii .i.hiimmiim
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1922 Sunnysidc Ave., Studio C- 12 7, Chicago. I1L
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| ture". I understand that this book is free and there
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D Sistiof O Speaking C Stiancriif Q Wuk Vsic*
= Name.
Ann, eat your breakfast
Here's cream taken from a bottle, and breakfast
food got out of a box. I haven't tasted them yet,
but I'm not afraid to ask you to eat. And in the
bathroom is new tooth-paste to use on your teeth.
Here's medicine to take before you start off to
school. . . . Don't forget to wash your hands —
that's a fresh bar of soap — and maybe dust your
face with powder. No, it won't hurt the skin. This
list of things I've seen advertised — stop and give
it to your father. He'll bring them home tonight.
Some of them old, some of them new . . . but what
a civilized thing! To buy on faith and use on
faith and never be betrayed!
Read the advertisements. Their honesty is as
clear as a mirror. You can believe in them as
surely as you believe in yourself. You can follow
their directions with utmost faith. You can use
their products with confidence — you'll want to use
them again. Theirs are facts proved and accepted.
Use their news.
^
TVhen guided by advertisements
you can buy with faith
10
Clarence S. Hull
SALLY O'NEIL
Marshall Neilan discovered her when searching for
a vender of vim and vitality to play the Irish
Cinderella role of Mike. She has fulfilled all ex-
pectations since her debut — and now that she is
"over" — there is no question but what the O'Neil
person will continue to assert her gypsy moods in
terms of vivid appeal. Mickey's meteor has more
than just the luck of the Irish. She also has a
way with her
'
MOTION PICTURE.
(^LASSIC
AUGUST, 1926
Melbourne Spurr
HUNTLY GORDON
He's never had the opportunity to tear loose in an outdoor picture for his assignments have invariably been
society roles. However, there is nothing to keep Huntly from wearing a bandanna handkerchief instead of
a bat-wing collar, a two-gallon hat instead of a silk topper, and fanning a six-shooter thru the air when he
wants to look like a true son of the wide open spaces
ALMA RUBENS
This actress is being presented with some fair-sized acting plums. Alma has gathered several choice morsels
while roaming over the Fox garden. First came "She Wolves" and then "East Lynne." Later she shook the
tree, and down tumbled the biggest plum of all. In "The Pelican," an adaptation of the play of last season,
the star has one of the biggest acting roles of her career
^
ANNA Q. NILSSON
Hartsi'^h'
No matter what kind of a picture she has, this star always contributes a performance marked for its
sincerity and understanding. Her plastic temperament gives her the authority to adapt her moods for
any role or situation which confronts her. In "Miss Nobody" the blonde Anna has a picture which, in
the words of the poet, is right up her street
Clarence S. Pull
MARCELINE DAY
When a girl makes herself comfortable in a window-seat, there is nothing one could add to the decoration
to make the picture more attractive — especially when she adopts a pensive expression or that "come
hither" look. Marceline is not only sitting pretty in the window — she is also sitting pretty at the top
of the celluloid ladder, a fact you can discover for yourself when you see her in "The Boy Friend"
The Changeable CHAPLIN
There is no one like Chaplin. His
personality, talent and moods stand
him apart from his fellow beings — a
man with the soul of an artist
THE first time I saw Charlie Chaplin in the flesh was
about five years ago in the Ritz Hotel, in London.
Incidentally, to give an idea of what might happen,
the day before, Tom Geraghty, the well-known
scenarist, had called upon the screen comedian _
and was much amused when he found
Charlie in his bathtub absorbed in read-
ing a chapter from the Bible. When I
called upon him, he was fully clad, his
interest being centered on the crowds 1
outside the hotel who were waiting I
10 get a fleeting glimpse of their film [M
favorite as he slipped thru the re-
volving doors and into his Rolls-
Royce. His reception in the Eng- ■
lish metropolis caused _ me to reflect 1
that with the exception of kings and
potentates or home-coming victorious
generals and admirals, no man, cer-
tainly no actor, had ever received a wel-
come comparable to that extended to
Chaplin by the people of his native
country.
Here was a man, still young, who
not so many years before considered
himself very lucky in being a more
or less obscure music-hall performer.
Now he was wealthy and at the top of the tree. Sir Philip
Sassoon, private secretary to the Prime Minister, invited
Chaplin to spend a few days
at his country home, and
scores of other notables were
eager to have the fun-maker,
who was born in squalid
Kennington, come to their
West End houses.
When Chaplin visited Sir
Philip Sassoon, he was asked
what color scheme he pre-
ferred in furnishings, and
the comedian waved his hand
and mentioned an effect
which he was surprised to
discover was to be found in
the wealthy Britisher's dwell-
ing. They wheeled his break-
fast into the apartment in
the morning and he daw- /
died over his dressing,
marveling in his healthy
enthusiasm over the
change just a few
years had made in his sur-
roundings.
Finds His Inspiration
\A7hen Chaplin lived in
v Kennington, he used to
walk all the way to Leicester
Square, and in his home dis-
trict there was a public house
(a saloon) outside which he
often observed an aged, rotund, bent creature, with large
spavined feet, whose sphere in life was as humble as any-
thing one could well imagine, for he earned his board and
lodging (such as it was) by attaching the feed-bags to the
cabbies' horses, while the Jehus were enjoying their 'arf- walked thru Lambeth and Kennington and later he had
16
and-'arf in the "pub." The flabby old man walked with a
waddle, and as young Chaplin passed on his way to look for
work, he noticed the funny walk of this bibulous object. On
turning the corner, Charlie was wont to imitate the
weird walk of the gentleman-in-waiting to the
cab horses. It was this derelict who inspired
Chaplin's now world-famous waddle.
Fancy, if the old man should still be
living and Charlie should go to him
with the information that he had com-
puted that he owed the bowed speci-
men of bone and flesh about a quar-
ter of a million dollars ! The old
man would probably die from shock,
or think the well-dressed, lithe young
fellow was mad.
There is a great deal of sentiment
about Chaplin, and his properties
prove this. He chose the attire of a
down-and-out toff — a tail coat that had
seen better days, a derby that looked
too small, a mustache that accentu-
ated his pathetic expression, huge,
haggy trousers, with a waist-line
much too large, and a natty little
stick. Chaplin's waddle and his
ridiculous -clothes are now known in
the isles of the Spanish Main, in far-off Java, from Tahiti
to Zanzibar, from imperial India to the storm-ridden
Hebrides.
The grimy old man's wad-
dle has been exploited to the
youth of Japan; it has been
in turn copied by the dirty-
faced children in Leith, and
the dusky kids of Singapore.
Everywhere you go, Chaplin
is known, and at one time,
while he was dallying around
the corner imitating the walk
of the feed-bag expert, he
longed to become a legitimate
stage actor. The nearest he
ever got to this aspiration was
when he officiated as a page
boy in a footlights produc-
tion of "Sherlock Holmes."
The next time I had the
pleasure of gazing at Chaplin
was when he was leaving
Waterloo station en route
for Southampton, to sail
back to America. The de-
pot was thronged with people
from all walks of life, and
special police were there to
keep back the pressing crowd
of eager men, women and
children. It amused Chaplin
again, and he frequently
smiled as he walked up and
down the platform, eyed by
all those who were leaving on the same train. The king
of all comedians was bound for his adopted home. He
had looked upon the grim section of London in which he
was born, and alone with Thomas Burke one night he had
Chaplin came out of the
slums of London to earn
world-wide fame.
He is a keen student of
the Bible.
His comic screen char-
acter is modeled after a
humble old Cockney.
He suffered bitterly and
cruelly in his youth.
He lives by his moods
and the world can take
care of itself.
The comedian believes
firmly in tenderness in
stories — it helps to make
the pictures sincere.
His temperamental qual-
ities often cause him to
forget appointments, but
those who understand him
become his stanch friends.
Charlie Chaplin Is a Man of
Moods — An Impulsive Person
Who Changes His Mind Every
Hour. He Is Temperamental
and Has No Use for the Stand-
ardized Rules of Convention.
Here You Will Gather Some-
thing of His Character — That
Changeable Nature Which
Has Made Him the Enigmatic
Genius of the Screen
By
Mordaunt Hall
visited the curving streets of Limehouse.
Burke, who is the author of "Limehouse
Nights," detests most motion pictures, but
spects and admires Chaplin. They are
two of a kind, both having
suffered bitterly and cruelly
at the outset of their careers.
Chaplin's picture, "The Cold
Rush." has much in it
synonymous with Burke's
last book, "The Wind and
the Rain," which was about the writer's early life.
A Man of Moods
^haplix is a man of moods, an impulsive person, who
changes his mind every hour. Work is not always
agreeable to him, and they never know in his studio when
he is going to call off activities for the day to go and
enjoy fishing at Catalina Island. He is averse to publicity,
or. at least, to meeting magazine writers and newspaper
correspondents. There is no other screen luminary like
him. Some time ago a writer of repute went to Holly-
wood with the main idea of interviewing Chaplin for a
magazine with a huge circulation. He waited. He kicked
his heels. He went to Chaplin's studio, but never was
able to see Chaplin. The comedian was not in the mood
to be asked questions and eventually the writer had to re-
turn East without the article he was bent on putting into
print. He did not know- that the coat tails he once saw
Chaplin impresses one as if he rather enjoyed his moods.
He wants to be different, and when it strikes him suddenly
that he cant stand going to a certain function, nobody could
make him change his mind
leaving a door were those of the comedian, but he did
know that scores of other newspaper men had experi-
enced the same disappointment.
It was the afternoon before the presentation in New
York of "A Woman of Paris," that I talked with Chap-
lin again. The picture was being screened and Chaplin,
in the gloom of the theater, told me that he did not like
the music. He is very partial to a suitable orchestral
score for a picture. He made an appointment to see me
again one morning in the Ritz Hotel, an appointment
which I kept despite the fact that I had had an operation
on my foot, which was covered with bandages. Suffice
it to say that he did not keep the appointment and nobod\
could have passed by the inscrutable Japanese, who has
to lie for Chaplin in such circumstances. Hence I did
not see the comedian again until I went to Hollywood
last summer.
No Use for Conventions
Tt was July 4th, when I disembarked from the train at
Los Angeles, and some friends took me for a long
automobile ride. At dinner that evening somebody
dropped the remark that Chaplin was going to leave on
his way to England the next day. Imagine my anxiety
at that moment, seeing that I considered my long journey
{Continued on page 67)
17
It's the Personality
That COUNTS
Dolores Costello
I
DO NT know
who the
first "ex-
pert" was that started to lay down rules
in regard to the qualifications necessary
for success upon the screen, but who-
ever he was, he should have been taken
out and shot on the spot.
Nothing has held the motion picture
back more, or kept the silent drama so
much in a rut, than the absurd practice of
setting up rules and standards for this, that,
and almost everything pertaining to the
screen, when the application of a few grains
of intelligence would reveal that there really
are no infallible standards in
regard to the silent drama or
its players. Oddly enough,
those in control of the mo-
tion picture business are the
worst offenders in this re-
spect.
Nevertheless, from the
earliest conception of the
motion picture there has
been a preponderance of
knowing individuals who
seek, after a very brief an-
alysis of certain phenomena,
to classify and category
everything in regard to what
can be successful or unsuc-
cessful on the screen. They
then later attempt to judge dogmatically all things by
these same standards.
Yet, when we closely analyze the success of prac-
tically every great player, director, individual
or company — I mean the ones who have
stood out more prominently than their
rivals — we find that their success has not
been due to the fact that they followed
all the iron-clad rules laid down by the
"experts"
Adolphe Menjou
Renee Adorce
Noah Beery
Spurr
Douglas Fairbanks
18
or that
they came
within all
the long-
established
"standards,"
but because
they have suc-
cessfully departed
from these time-
worn formulas. And, by so
doing, they have stood out
with greater personality.
They did not subscribe to
the so-called regulations to
make themselves successful.
Not Machines but Humans
Cad to say, the tribe of "experts" has in-
creased greatly in the past few years
and now
Hollywood
studios
are filled
with these
professors
who are still
laying do»wn
rules in spite of
the fact that
their regula-
tions are repeatedly being
broken by nearly every new
player who wins his or her
way into wide popularity
with the motion picture
public.
I can remember even as far back as 1910, when movies
were just in the one- and two-reel state, the self-appointed
authorities were already beginning to establish all sorts of
regulations, altho nobody had asked for them and the
public itself did not know anything about them.
Before I begin to enumerate some of the "flaws" and
"weaknesses" of various successful celebrities, it should
be stated that this is a rather
delicate task, and there cer-
tainly is no intention on the
part of the writer to be un-
gallant in regard to some of
our screen favorites.
My only motive for call-
ing attention to certain
so-called defects
is not for the
purpose of
criticizing
these vari-
ous play-
e r s, but
merely to
show that
it is non
sense to assert that it is necessary for
screen players to fulfill certain require-
ments of perfection, if they have other im-
portant attributes which can offset their
other deficiencies.
One of the first screen laws to be estab-
lished, for no reason whatsoever, was to the
effect that all film leading men had to be tall. This idea
probably originated from the fact that most of the early
favorites were men of above the average stature.
Then along came Henry B. Walthall and knocked this
false impression into a cocked hat. In spite of beiii£
several inches under the standard set for movie heroes-
Buster Keaton
Henry B. Walthall
The Greatest and Most Popular Players Upon the Screen Are
All Breaking One or More of the Laws Which Certain Studio
Professors Seek to Use in Judging Talent. Every Star Who
Has Got Along in the Celluloid World Has Succeeded by
Sheer Force of Personality Plus an Aptitude for Acting —
and Not by Means of Physical Qualifications
By Tamar Lane
Lew Cody
in fact, what one might term "short"
Walthall succeeded in quickly establishing
himself as one oi the popular leading men
- day.
When 1
- a v t h a t
Walthall
disproved
the theory
that screen
leading men.
to be popular,
must he aroum
the six-foot mark,
I mean that he dis-
proved it to the satisfaction
of those who used their
heads. Unfortunately, there
are not a great number of
such individuals in the mo-
tion picture industry, for in
every studio and casting de-
partment in the land one still hears them rejecting young
players because they are "too sh >rt."
Yet today we have Richard Barthelmess, Ramon Xo-
varro, Douglas Fairbanks. Jack Pickford, and others.
easily among the most popular players of the screen, and
all in the "short" class according to film experts. Even
John Gilbert and Ronald
^_^_^_________ Colman, the two most popu-
I^^a^^a*, lar matinee idols at the pres-
,a« ^. ent time, are far below the
six-foot standard.
Of course, some of the
above players build them-
selves up for their ap-
pearances on the
screen to look
several inches
taller than
they really
are.
To Wil-
1 i a m S.
Hart goes
the honor of breaking another early
established tradition — the one to the effect
that all silversheet heroes must have the
beauty of Adonis. It must be admitted that
Hart, back in those old Ince days, had a rather
tough time of it in convincing the film industry
and the movie public that there was a prominent
place for him in the screen heavens, but by superior act-
ing and a powerful personality, he finally won out.
Hart was also largely responsible for exploding the
theory that it was necessary for screen heroes to be prac-
tically of the juvenile type. Today, we have Lewis Stone.
James Kirkwood, Conway Tearle, Thomas Meighan,
Milton Sills and others, who have all passed out of the
Gloria Swanson
Apeda
Marion Davies
D w
^•the
Waxman
Rudolph Valentino
Colleen Moore
adolescent
and Mill bl
millions of ardent admin
As for the qualification of beauty, who
would dare to accuse I on I
Wallace Beery or Ernest Torrence of
pulchritude? Hut who would trade one
of them for a standard perfection brand
of movie h<
Classical features are all right in their
place, hut they are not absolutely necessary
on the screen. Look at Hull Montana and
Joe Martin !
D. W. Showed Them How
Griffith is one of
few men who have
consistently di srega rded
every rule and regulation of
the picture game. Yet he
has to his credit the greatest
number of successful play-
ers in the business.
Griffith developed Lillian
and Dorothy Gish, two
charming and talented ac-
tresses, who would have
found it very difficult to
secure even extra work in
almost any other studio.
Roth Dorothy and Lillian
lack the facial features that
are deemed necessary for
the .silent drama. In fact, Griffith and the two Gish girls
met with much opposition when he first presented these
two young players in his productions. Nevertheless,
in spite of "expert" opinions. Lillian and
Dorothy have firmly established themselves
upon the silversheet, and Lillian is now con-
sidered by many as one of the most beau-
tiful actresses in pictures.
Mae Marsh was another Griffith dis-
covery who rose to great popularity,
despite the
fact that she
failed by a
wide margin
to measure up
to the usual
screen face stand-
ards.
Believe it or not.
it has long been one of the
most positive assertions in
film circles that light eyes
are a serious handicap to
any screen player. This
"rule," more than any other,
(Continued on page 65)
Bill Hart
Carsey
Lewis Stone
Doolittlr
19
Three Women Writers
Courtesy George H. Doran Company
Rebecca West
Thomas F.i'i
Sheila Kaye-Smith
By Henry Albert Phillips
13EBECCA WEST is one of the most energetic
journalists in Great Britain, among the
women, and her pet theme is attacking the male
of the species with her pen. She was charm-
ingly feminine where I had expected again to
find another mannish woman,
I like the German films best, ' she told me
with immediate frankness. "I recall one in par-
ticular I saw recently. Shadows,' I think was
the title. The American films are so rubber-
stamped. If I see one of them, I can approxi-
mate what the next dozen will be like. The
same actors and actresses are always the same
in every picture. They seem to take pride in
forcing their own personalities thru the part
always — really smashing it, by the way. That
is not the fine art of acting, which consists in
effacing yourself in emphasizing the character
m the role you are essaying. You see, I was
on the stage for a while myself and had a grand-
father who was director of a theater in Edin-
burgh, so I am interested in and have some
knowledge of what the actor's art should be
like.
{Both contmu
20
QHEILA KAYE-SMITH is recognized as one
*^ of the most graceful novelists of England.
The day that I called on her happened to be
just about the time that a play was being pro-
duced, drawn from her book, "Joanna Godden.
She was in a mild state of excitement over this.
"You know, this novel lends itself much more
to the films than to being dramatized," she ex-
plained to me. "As a matter of fact, I should
say that it was a perfect film. You can follow
the story from beginning to end with the same
ease and interest that you can a film.
"I like going to the films and there is nothing
that entertains me more than a good film. The
film conventions often make me very angry, tho.
There seems to be no half-way ground in the
sort of picture drawn from life itself, presum-
ably. While it is true that romance may take
us out of the broad road of every-day life into
delightful side-paths occasionally, life still re-
mains in the middle ground. In the films, every-
one who is well-off lives in marble halls ; the
majority of those who have no money to speak
of are shown in penury and rags. We call that
ed on j>age 80)
Consider1 the Films
"I like the German films best. The Amer-
ican films are so rubber-stamped — but we
look to America for better things than she
has been doing." — Rebecca West.
"In the films, everyone who is well-off
lives in marble halls; the majority of those
who have no money to speak of are shown
in penury and rags. Why dont the film
people take up the middle-class life more?"
— Sheila Kaye-Smith.
"When my novel, 'The Immortal Mo-
ment,' was done in the films, they took great
pains to get the scenes in Italy. But beyond
that, the performance positively made me
ill." — May Sinclair.
Courtesy The MacMillan Company
May Sinclair
The Fourth of a Series of Talks About Motion Pictures
With Famous English and Continental Writers
T T was only a few years ago that we used to
regard the British woman novelist as a bold,
swaggering, advanced-woman sort of creature
who could outplay mere man at most any sort
of game. I may say that that, at least, was my
conception of her. To say that she was "man-
nish would be putting it very mildly indeed.
But I have been disillusioned in respect to
these women writers. They are simply women
after all, just as strong and just as weak as their
sex. I have yet to meet one who is as bold as
my conception of her.
What I cannot always understand about so
many writers is, how they can possibly write in
such an up-to-date manner in their books when
they are so hopelessly behind the time in their
lives ! It seems a shame to show the feet of
clay of public idols this way. But I am not doing
it in a spirit of iconoclasm but in a desire to
reveal the real flesh-and-blood persons behind
their printed-word mask. I think they benefit
rather than surfer from it.
In one particular I think every reader will
agree with me. That person who makes little
(Both continu
'\/TAY SINCLAIR has written three novels
which have stood out prominently as
among the most fascinating of modern fiction.
These are "Mary Oliver," "The Rector of
Wyck" and "Anne Severn and the Field ngs.
I had always thought oi May Sinclair as a
tall, spare, bobbed intellectual, wearing a W. G.
Locke-ish pair of eye-glasses. I would probably
find her sitting in her short skirts, cross-legged
on the table, smoking a cigaret and possibly
nicking the ashes on the floor (absently, of
course).
Who told me all this?
Why she herself did. In "The Divine Fire,
for instance.
It was a very foggy, typically London, day
when I went out to see the novelist who is
winning such literary laurels. I had great dif-
ficulty in finding Abbey Road. London is so
enormous, so complicated and so unreasonable.
There are no long straight streets, running ac-
commodatingly East and West, or North and
South, with regular blocks and odd and even
numbers to match and bearing numbers for
ed on j>age 80)
21
It is customary with the moguls of the
picture industry whenever they promote
ideas to take time out for lunch.
Mr. Hanemann was sauntering up
Fifth Avenue one noon when he suddenly
found himself cornered by the producer
of Controversial Pictures. One word led
to another until he was encouraged to
create "something" like a scenario.
Accordingly the next day at lunch he
outlined his story — which was accepted
with reservations. But the braised beef
tongue was good. The humorist expects
to write the perfect picture plot the next
time he faces the menu with the movie
magnates.
IT all started on Fifth Avenue, a thorofare which al-
ready has enough to account for. But if this is to be
a veracious account, I must insist on the actual locale.
Besides, you will agree that anything can happen on Fifth
Avenue, and does, from eight to six, daily.
It started from a casual remark dropped by a gentle-
man to whom I had just been introduced. Our common
friend left us to continue our way together. Heretofore
conversation between the gentleman and myself had been
in the nature of cushion shots, bounding off the friend, as
the cushion, to one or to the other of us. From now on,
it was apparent that any further conver-
sation would necessarily be right clown
the table. Which may, or may not have
prompted the remark.
"I suppose," said the gentleman, a Mr.
Teall, "that you will soon be trekking
West, like the rest?"
"I beg your pardon?" I replied,
ing barely made Mr. Teall's ac-
quaintance, I had not the remotest
idea of his connections, commer-
cial or otherwise. Judging by that
Came One
By H. W. Hanemann
crack, it sounded as if he might be a professional song
writer, in which case, I am firmly convinced that "I beg
your pardon" was a darn good answer.
"Movies," explained Mr. Teall — "if you dont mind my
talking about my business."
The Flattering Offer
"r^n!" I said, and having that kind of a mind. I was
immediately miles ahead of him. For several beau-
tiful, fleeting moments, I had an idea that he was going to
suggest my becoming a motion picture actor, and back up
his suggestion with a contract. Trust me to pick out a
good job for myself, and anyhow, if I flout pick out a
good job myself, who, I ask you, is going to: Unfortu-
nately it developed soon enough that Mr. Teall';, connec-
tion with the motion
picture industry was
in the scenario
d epartment,
and it was
along that
line that I
was being
22
Spring Day; and Then —
Drawings by Eldon Kelly
sidered. li was very flattering, but I still think I
would prefer acting, as writing scenarios sounds too much
like work. We wont, editors being what they are, go into
discussion of my talent for acting in thexinema. To
me who is interested and means business, 1 am more
than rrady to give adequate proof.
However, Mr. Teall dressed up the more somber side
of my abilities my absolute fitness to write slap-stick
comedies — in such glowing colors that 1 found myself
rlv accepting his invitation to drop into his office there
and then, and meet the boys. The boys were clamorous
in their assurance that I had been sent from above to put
the infant industry into its first suit of long trousers and
one of them even dispatched a stenographer for some
frankincense and myrrh. After a while 1 soil of got to
believe it m y self.
When five or six
people are stead-
ily insisting
that you are
a genius,
you cant
B
really hold out against them for very long. I he upsho
it was that I finally consented to dash off a synopsis foi
their star comedian and Mr. Whoosis, the owmr oi <
troversial Pictures, and their hurra boss, could k° home
and k'ct the tirst good night's sleep he had had in two
weeks. Having won their point, they extended a cordial
invitation to lunch (on the hurra boss) the very next day,
feeling sure that I would have certainly created "SOWH
tiling" in the fifteen or sixteen hours to have elapsed.
Well, of course, if the) wen- going to start taking nrv
lunch. . . .
Backslapped by the Boys
BPORE I i^o any further, I want to impress upon you
that up to now I had never written a movie scenario
or a synopsis nor had 1 ever considered doing so. Nor
had I any idea of how to go about it. The closest I had
ever come to writing a scenario was having various friends
tell me that I ought to write one. Hut then they tell me
that I ought to go on the stage, and that 1 ought to shave
off my mustache and that 1 ought to but you have
friends, yourself. So far I had been able to laugh it all
off and put it down as the price you pay
for friendship, and if you're not stuck
that way, you are another, so what dif-
ference does it make ?
This time. to be sure, it looked as if
I bad committed myself. And look at
the interest they were taking in me. In
the face of all tradition that selling a
scenario was in the "not that ! not that"
(Continued on page 77)
The young man scorned
his sister's garden-party.
He turned a cold English
shoulder on the group
while he gazed longingly
( a the photograph of a
beautiful girl. Instantly
his mind snapped back
into place. He would have
her — come what may
23
Ernst Lubitsch is one of the foremost
directorial artists of the screen. He has
imagination and feeling and knows all the
cinema tricks
Mr. Josephson is a well-known young radical writer,
who has been taking a profound interest in motion pic-
tures. He has written interestingly and authoritatively on
the screen's greatest achievements. This is the second of
the series of Masters of the Motion Picture, in which he
gives a critical discussion of the screen's advance.
IN the modern period of the movies, the films of Messrs.
Lubitsch, Chaplin, Stroheim, Vidor, Cruze, have de-
veloped a complete character of their own as an art,
instead of being a mawkish rendering of cheap theatrical
successes in photos.
The eye is struck first by* the immense improvement in
the quality of the camera work, the cleanness of line, the
absence of waste detail. All of them manipulate their
groups, their sets, as well as the light they spill over the
scene, to get a balance, a form that keeps your eye un-
swervingly on the things that count most.
Not only have they learned to paint with the camera,
but also to suggest, by the interplay of sequences, by the
terrific power of concentration in a close-up, by the
shrewd angles they catch, almost a new understanding
of life. The modern film,
in short, becomes an in-
strument fit for artists to
express the highest flights
of their imaginations, their
most delicate and subtle
fancies.
That Masterpiece Again
T'he one film out of this
rich period which you
have doubtless heard
critics refer to more than
any other is "The Last
Laugh." It is a German
picture, directed by F. W.
Murnau, with the great
Jannings in the central
role.
There is virtually no
plot at all, no love inter-
est, no sensationalism of
any kind. What is the
merit of this picture,
which failing, as it did, to
24
MASTERS
of the MOTION
PICTURE
become a popular success, appealed to insiders, critics,
artists, column conductors, everywhere as most nearly
approaching the ideal of perfection?
"The Last Laugh" gave us the unique feeling of look-
ing into the interior of a man's life thru some wholly
unaccountable peer-hole. We not only watched this man's
expressions and movements, we watched the states of his
soul. Jannings, who is possessed with some divine under-
standing of his business, seemed to know more about how
to make his zvhole body expressive than most of the other
film folks put together.
The picture forms simply the inside history of a crisis
in the life of an old hotel porter who is demoted because
of senility to a still more servile occupation, that of lava-
tory-attendant ! And because of the simplicity of his
material, because he didn't have to bother with the details
of some silly plot, the director was able to bear down upon
the pure creation of his character and his awful fix thru
cinema technique alone. It is one thing to interest you
with pictures of pirate ships, knights-at-arms, society gals.
It is another to make you feel with the pride, the hope,
the passions of an old derelict like this. Within the hour
you have a sustained motion picture which thru its over-
tone hands over to you his whole code of living. This
idiotic old creature is interpreted with as much eclat, sym-
pathy, intimacy, and frankness, as, let us say, Chaplin in-
terprets Chaplin.
"The Last Laugh" is considered
Emil Jannings in the role of
gave us the unique feeling of
a triumph of camera art, and
the pitiable old doorkeeper
looking into his very soul
Perfect Technique
"The background, the
group of characters, the
labor which fills this life
are all drawn with a
tremendous effort at reali-
ty. There are no sub-
titles at all to interrupt the
mood of understanding
into which you are thrown.
The pictures as Murnau
composes them put the
stuffy and artificial-look-
ing studio sets of his ex-
pressionistic colleagues to
shame. He uses every
trick of the modern cine-
ma that will help him trap
an idea, an effect, and
hurls it at you.
For instance, there is a
daring full-length flash of
a revolving hotel-door,
which with its glassy glit-
ter and whirl recurs in the
sequence of the film like a
J
There Is a Handful of Directors
Who Have Developed a Complete
Character of Their Own as an Art.
The Discerning Eye Has Caught
the Quality of Their Work. They
Have Created for Us the Illusion
of Absolute Understanding and
Sympathy with the Moods Ex-
pressed Thru Their Celluloid
Figures
By Matthew Josephson
Eric von Stroheim is a master of lights and
shadows — as well as atmosphere. He de-
lights in painting realities — to focus his
camera on life as it stalks by
retrain, a dominant motive in music, setting off the whole
idea of this proud and cruel hotel. Or, there is a wedding
feast in which the camera, itself, seems to go drunk with
wine and contentment and, wandering about the meager
North Berlin interiors, drops into a brass instrument and
brazens out to you the very music of the occasion in a few
inspiring mechanical close-ups.
All the "stunts" and tricks of the director followed his
material with absolute faithfulness. They did not stick
out like useless fandangles, as in "Caligari." All the
■hades of joy. grief, desperation, came to you thru the in-
sidious overtones that caught you in their spell.
After all. the secret of any great art is to create in us the
illusion of absolute understanding and sympathy with the
experiences the artist expresses; thus, to make us forget
ourselves, and think only that we are living thru these
experience^ and that they are just as momentous or tragic
as they seem to be to the artist.
Otherwise, the moving picture camera arena seems to be
divided for the moment into two camps. One is trying
to bring the beauties of painting, the thought fulness of
good literature and drama and music into the cinema. The
other camp, develops out
of the movies themselves,
and especially the slap-
stick movies. They want
to get over the effect of
motion, its humor, its ver-
tigo, its hypnotic thrill and
drive. We shall come
back to these later.
In the Lubitsch Manner
The films of Ernst Lu-
bitsch place him practi-
cally as a leader of the
first group. Again, they
do not always pay, but
they make him the envy
of fellow directors. Their
recent successful revival
in Xew York before a
serious film following by
the International Film
Guild shows how much
good there is in l.u-
bitsch's Collected Works.
Deeply moving experiences were recorded in "Greed" — a
work unusually grim and realistic. Stroheim touched the
very dregs of life with this ponderous and tragic picture
Anyone with half an eye can see that he excels in imagi-
nation, delicacy, wit. taste. He has the spirit of the artist,
and he brings this to his work in the movies. He has been"
a profound student of this new art, and like certain other
of our late enemies, he has, we gallantly admit, all the
cinema tricks at his finger tips.
From his early successes in Germany with historical
films such as "Passion," which gave us a plausible and be-
witching Duborry in Pola Negri, Herr Lubitsch was
driven to light social comedy by the severe strictures of
the box-office.
So far as I know, we had never seen historical char-
acters so appropriately and delightfully gotten up, nor
scenes of regal splendor and licentiousness a la Louis
Quince so accurately and tastefully pictured. The action
moves deliberately thru the sequences, which show us all
the agreeable wickedness of Louis's court at Versailles,
then rushes to the miserable death of Mmc. Dubarry's
great patron and the gathering storm of the French Revo-
lution. This last affair turns out to be a melodramatic
hurly-burly, and for convenience's sake is pushed back —
some twenty years in history.
Amid this historical
business Lubitsch found
the most adaptable ma-
terial for his imagination.
He worked for grandiose
pictorial composition, and
for human types that fitted
as plausibly into his set-
ting as the period furni-
ture. Against this, he
wou'd throw sudden, hide-
ous contrasts of misery
and poverty.
In short, we have some-
thing here that we can
honestly feast our eyes
upon. Glittering chande-
liers, mirrors, decorated
wall-spaces, savagely-
drawn faces i that s^m
to come out of the paint-
ings of Daubignyl. whose
interesting wrinkles and
crow's-feet give us much
[Continued on page <><•
25
No one seems to know what became of the chap
who played the soldier in the hospital scene for
"The Birth of a Nation." His moon-calf expression
of a love-stricken youth won him many praises
during his brief moment with Lillian Gish
YOU'VE often said it and so have I. Your eye and
attention have been captured by a particularly effec-
tive "bit" on the part of some unknown — an extra.
The picture you have seen often lingers in your memory,
not by reason of the story or the artistry of the star, but
because some five-dollar-a-day extra has dominated the
scene in which he or she appeared. In glancing at a still
from the never-to-be-forgotten "Birth of a Nation," I
couldn't help but wonder what became of the boy who
played that bit with Lillian
Gish.
I remembered the -player
and the scene. Which
naturally led me to the
speculation of "how many
extras make good." How
many of those who furnish
the "atmosphere" in pic-
tures, and, thru the inspira-
tion of the director, are
sometimes singled out to
put over an especially effec-
tive piece of acting in a few
feet of film, pull themselves
up from the mob on the
strength of this brief flash
of ability. The answer is a
hard one to arrive at. Con-
cerning the player in I).
YV. Griffith's masterpiece,
he apparently sank back
Did you know that Barbara La Marr started
her career as an extra?
Can you remember when Constance Tal-
madge decorated the ranks of the extras?
When you watched Roy D'Arcy in "The
Merry Widow," did you know that he once
appeared in the chorus of a musical comedy?
Would you ever think that Florence Vidor
played atmosphere in "A Tale of Two Cities?"
Do you happen to know that D. W. Griffith
discovered more talent among the extras than
any other director?
Have you considered that Adolphe Menjou
reached his present popularity by rising from
the background of extras?
I Wonder
What
BECAME
of HIM
into the ranks of obscurity after his few brilliant
moments with Miss Gish.
The curse of "type" has denied many a player of
ability his chance to leave the extra fold. He may
stand out for a few scenes as a gangster, a detective, a
dope fiend, a half breed, an Apache or what not.
Simply because he looks the part, his real worth as an
actor is overlooked. He is a type who is expected to
play nothing else but the fill-in character with which the
director associated him in his mind. This, then is one
reason why the extra who has impressed you with his
work remains an extra.
Some Make the Grade
A gainst the case of Griffith's soldier and those who are
retarded in their upward climb due to their faithful-
ness to "type" we have many startling examples of
present-day stars who made their way rapidly from the
background atmosphere to foreground close-ups due to
the scintillating flash of merit displayed by them when
drawn out of the background by the "bit" intrusted to
them by the director.
Barbara La Marr, in many respects one of the most
distinctive artists of the present generation of screen stars,
started her career as an extra. She was given her chance
by Louis B. Mayer in a picture call "Harriet and the
Piper," which starred Anita Stewart. At the time the
girl who later developed
into the films' most noted
siren was a gangly, thin
youngster whose wistful-
ness and amazingly beauti-
ful eyes attracted the
attention of the present
production head of Metro-
Goldwyn-Mayer. A bit of
business was built up for
the late actress. She per-
formed it so creditably that
a small part was soon forth-
coming and fandom the
world over knows the rest.
Another stellar light of
the screen who focused at-
tention upon herself while
providing atmosphere in a
\ itagraph comedy was
Constance Talmadge. Her
personality stood out,
26
There Are Many Extras
Who Have Made Good, But
Most of Them Continue to
Furnish Atmosphere. Some
Stay in the Five-Dollar-a-
Day World Because They
Are Types, Yet There Is a
Large Number Who Have
Climbed the Heights to Star-
dom Thru Exercising Their
Talent and Personality
By Bert Ennis
The plaintive-looking extra with the long braids in the
second row is none other than Constance Talmadge. She
played one of the sweet-girl graduates in "The Chicken
Inspector," an old two-reel Vitagraph comedy, starring
Wally Van
hemmed in as it was by the "sweet-girl graduates" who,
wiih Norma's talented sister formed the necessary back
ground for the antics of the diminutive Wally Van, and
again we find an extra who quickly eliminated herself
from the class covered by the query "I wonder what
became of her."
You Never Can Tell
COMETIMES, tho. the extra player whom we size up as
^ of promising caliber answers our question in a start-
ling manner. For example there is Roy D'Arcy, the
youthful player who scored so decisively in Strohcim's
"Mem Widow." After hatting indifferently in the five-
dollar-per-day league for some time he found himself
refused even as an extra player by the Metro-* loldwyn
forces. He turned to the stage for a livelihood, securing
a job with "The Clinging Vine/' a legitimate attraction
holding forth in Los Angeles. Von Stroheim viewed the
show and with unerring judgment selected the unknown
actor for a prominent rule in "The Merry Widow'* and
D'Arcy found himself playing a leading part in a studio
which had refused him extra work.
We also might he wondering about the little girl rapidly
rising to tame under the name of Sally ( )'.\cil were it not
for the fact that Mary Pickford, exercising the preroga-
tive of a star land a woman) decided to change her mind.
Her change of mind concerned the role she was to play
in Micky Neilan's "Mike." Sally, whose background
personality probably intrigued us more than once, was
selected by Neilan to bat for the famous Mary. And she
knocked a home run. No speculation concerning what
fate holds in store for the extra would he complete without
mention of Florence Vidor. The present much-admired
and extremely capable Florence, who is, at last, to enter
upon a starring contract, caught the fancy of movie
patrons as an extra in the picturization of "A Tale of
Two Cities." And she lias held it ever since.
(Continued on page 84 )
The dapper-looking gentleman at the extreme right is the popular Adolphe Menjou. He had gifted eyebrows
even in those days — a talent recognized by Wally Van, who gave him a small part in a Vitagraph serial,
"The Scarlet Runner"
27
Mack Sennett deplores the lack of Art in his
comedies and so features Nazimova in a series
of comedies
W
m
A
/ <J
Lillian Gish asked for and got the role
of the native dancer in a South Sea
Island picture with W. C. Fields as the
shipwrecked yachtsman
. - \
(Zia&v^ C^ ^*-v-w
/ < •*
28
W]
THINGS
That Will
NEVER
HAPPEN
By
K. R. Chamberlain
Theodore Dreiser find* that the
screen version of his "American
Tragedy" actually follows the
story as he wrote it — and the
■hock is almost fatal
Having banished all moral turpitude from
■the films, Will Hays, gleefully, resigns his
$100,000-a-year job, and censorship boards
disband, rejoicing
\L J-
29
Pach Bros
Hugo Ballin has be-
come discouraged in his
effort to make beautiful
pictures. Always artis-
tic and idealistic, he has
discovered that such
qualities are not appre-
ciated by the powers
who control the him
world. He was a recog-
nized artist before he
became associated with
picture work. As color
is his hobby, he intends
to make one color film
before he gives up the
screen. If he accom-
plishes his ambition, the
fickle producers will
doubtless hail him as a
genius — and wonder
where he has hidden his
talent all these years
T
HAT'S Hugo Ballin!
You remember Hugo
Ballin, dont you? The
The
Disillusioned
DIRECTOR
By Madeline Matzen
everybody is writing novels.
Being curious — I went and
called on him.
He lives in a charming and
sedate house on a quiet, shady
street in Hollywood. There
is a garden, beside the house,
full of pink roses, blue del-
pheniums, joyous lilies and
other sweet-smelling things.
Mabel Ballin was watering
the garden. She wore a gay
print dress and a big scoop
hat.
The hose sent a shower of
clear drops across the flowers
and the sun made a little rain-
bow where the water fell,
there was a little twinkle in
Mrs. Ballin's eyes and 1 was
glad that I had come.
Turns to
thei
Other Arts
house is cool
director who first introduced
natural lighting on the screen.
The man who gave us real
settings in the place of the flimsy, unconvincing affairs
that we had been used to. Who gave us the first picture
that was ever made without a subtitle. Who made
"Becky Sharp" and "Jane Eyre" and other beautiful and
simple pictures for us — and who introduced us to Mabel
Ballin, she of the demure costumes and the pixie eyes.
Yes, of course, you remember his pictures ! And per-
haps you have been wondering what has become of him ?
I was curious, too. I had heard rumors about him —
that he was painting murals, gorgeous ones — that he was
writing novels, pretty fair novels, too, for a day when
30
The Ballins are a happy, contented couple who see
color in everything whether it is painted by Mother
Nature or by themselves. At the top is the dis-
illusioned director and above is his own favorite
painting of his wife, Mabel Ballin
Inside, their house is
and uncluttered. It is the-
most restful place I have en-
countered so far. But per-
haps I have grown too used
to cinema celebrities who
adorn their dwelling-places
with plush and lace pillows,
incense pots of near-bronze,
many kewpie-dolls and other
startling "novelties." At any
rate, the Ballin home is a re-
freshing oasis in the jazz-
land of filmdom.
A sea-breeze blew the mus-
lin curtains back and forth,
there were cigarets in a huge
silver box and on the wall
facing me was a great mural
painting of golden vistas
which Mr. Ballin had just completed.
It was hard to tell which thing enthused him the most
— the new mural or the new book which he was busily
proofreading.
The new book is a sort of revelation and prophecy
concerning life in the motion picture colony. A curious
compound of colorful truth and theories I guessed as he
read some passages from it aloud to me.
Four novels and two delightful murals are the fruits
of Mr. Ballin's vacation from film work.
(Continued on page 74)
_.
Spurr
ROD LA ROCQUE
If there are any screen personalities unattached, it doesn't take D. W. Griffith and Cecil B. De Mille long to
make them sign on the dotted line. Take Rod La Rocque, for example. Some time ago De Mille discovered
possibilities in him — and promptly placed him on his band-wagon. Rod has fulfilled all of C. B's expectations
and has established himself as one of the leading luminaries in the film firmament
31
The HAUNTED HOME
By Robert Donaldson
The Old Lasky
Studio in Holly-
wood Has Be-
comebut aMem-
ory. A New Day
—With Its New
Demands — Has
Dawned. Which
Means a Bigger
and Better Stu-
dio Is Being
Erected to Film
the Paramount
Stories
"/ feel like one zvho walks alone
Some banquet hall deserted,
Whose lights are fled,
Whose garlands dead.
And all but he departed."
■ — Thomas Moore.
THE pepper-trees are the same on Vine Street in
Hollywood, and even, for the time being, the grey
exterior of the wooden two-story office-building that
stretches the length of the block is untouched and as
placid as ever. To the outward eye, the Famous Players-
Lasky studio, for years a Hollywood landmark, is un-
changed.
Yet its heart is gone, and today it is haunted by ghosts,
musing ghosts in film finery, who hover about watching
the busy crews of wreckers as they destroy.
For the old studio is no more. The glass from the
enormous roofs over the stages is crashing and falling.
A structural steel crane is lifting the great beams from
32
It is moving day on the Lasky lot. While the workmen
tear up the floors that have felt the tread of the movie
great, these ghosts of Yesterday bow in defeat before the
remorselessness of Age. Time takes its toll — but the show
must go on
their places and laying them side by side near the street.
The floors of the stages, floors that have felt the tread of
the panorama of movie great, and have borne the weight
of the most lavish sets ever erected by Cecil B. De Mille
and Allan Dwan and James Cruze. are being torn up.
From one side of the city block to the other, the view is
unimpaired, where only yesterday one could not see be-
cause of the forest of "sets."
It Is Moving Day
The long row of dressing-rooms, which housed extras
who became stars, and in some cases housed stars who
became extras, has gone.
Pola Negri's bungalow — it used to be Mary Pickford's
in the days when Douglas Fairbanks met and fell in love
-
of movie GHOSTS
Drawing by Eldon Kelley
It is a last-thinning line which has stormed this fort once
illumined with the flare of Kleigs. Once upon a time these
shadows of the past walked triumphantly thru the sets.
Now they hover unseen in the background, and the world
looks upon them as memories
with her — still stands, and so does Gloria Swanson's, at
the opposite end of the lot. But soon, they too, will fall
prey to the wreckers.
The paneling of Jesse L. Lasky's private office, where
contract that have meant millions to stars have been
signed, has been removed and transported to the new
studio. Cecil B. De Mille's churchlike private office was
converted some time ago into a projection-room. If these
offices could only talk! — what tales they would tell of
fame and fortune, of tears and heartaches, of gambler's
chances that won. and great ideas that failed !
Famous Players-Lasky is moving its studio. A new-
day, a new need. Their two city blocks in the heart of
Hollywood is now too small to handle the immense pro-
ductions the company is making, and the old facilities
Shadows of the
PastCreep Forth
From the Old
Plant's Crash-
ing Roof and
Walls. The
Specters of Yes-
terday Bow and
Pay Homage to
Its Memories
have become inadequate. So the United Studios lot. off
Melrose Avenue, was purchased. The old Lasky lot had
ten acres, the new has sixteen. The new lot will have
eleven enormous stages. The old had but six. two ot
them quite small. While the crash and destruction of the
wreckers is heard on Vine Street, the pleasant ringin,
hammers is heard on Melrose, where a horde of carpen-
ters, masons and plasterers is preparing the new home.
The Parade of the Specters
f*HOSTS . . . ghosts . . . they p;is> in Midnight Re-
^* view, like the return before the eves of the exiled
Napoleon at Elba, of his famous marshals, parading'' in
array victorious before him — for the glory ot Napoleon,
and of France.
Ghosts . . . gliONts of film fame, return to this
battle-field once illumined with the flare of sun-arcs
and Kleigs, once raging with the fierce competition of
celluloid rivalries. Ghosts that muse on the fickleness of
{Continued on page 68)
33
The w. k. comic
strip, "Ella Cind-
ers," has reached
the screen with
Colleen Moore in
the title-role and
Lloyd Hughes as
Waite Lifter, the
boy friend. You
will see Ella
breaking into the
movies by the in-
teresting expedi-
ent of "crashing
the gate"
34
"Bring Yer Ice
AROUN' to the
BACK DOOR"
Ella hasn't gotten along
very well with her rela-
tives. Armed with her
trusty mop and broom,
Mr. Lifter and the count-
less newspaper friends
expect her to make a
clean, sweeping hit
Freulich
Rirhtcr
PAULINE FREDERICK
She's the most misunderstood woman on the screen — is Pauline Frederick. One story after another has been
given her to interpret, but the characterizations have not measured up to her stature as an actress. Thoroly
gifted in her art, she is able to bring forth all of her rich emotional gifts. If you saw "Smouldering Fires."
you saw Miss Frederick act with fine shading and conviction
35
WHAT'S GONE ON
BEFORE :
Cella Lloyd, winner of a
bathing-girl contest, has taken
Hollywood by storm. Being
an observing young minx, she
thinks the time is ripe to imi-
tate her jealous rivals and get
in touch with her public. So
she makes a Personal Appear-
ance—Cella herself, in the
flesh, not a Motion Picture.
Now read on!
j*^~. «uu j,
Scene I
Nick E. Lodion, the impresario of
the Amusement Palace, introduces
Cella to the audience. With a con-
fidence born of rubbing elbows
with the passing throng in hotel
lobbies and railroad stations, and
assuming a haughty demeanor for
the occasion, Cella goes thru the
pantomime of shaking hands with
her public
Scene II
As a star's popularity is measured
by the flowery tokens she receives,
and to make certain of impressing
her thousands of friends, Cella
sends some floral offerings to her-
self. Posies come high, but Cella
scorns the expense. As she gazes
rapturously at the display, she be-
lieves she has made Mile. Hebe
Jebie, her bitter rival, intensely
jealous
36
CELLA LLOYD
Makes a Personal
APPEARANCE
'
By
John Held, Jr.
Scene III
However, Cella's personal appear-
ance was not what she exactly an-
ticipated. Expecting it to be her
Night of Nights, she is surprised
and rendered speechless upon dis-
covering herself sharing honors
with Rin-Tin-Tin
Scene IV
However, Cella has her wits with her as well
as her figure. Sizing up the situation as one
that calls for immediate action, she dons
the sure-fire one-piece bathing suit to keep
faith with her public. She will stand or
fall on her justly famous legs, if it takes
all summer. As for the dog, he can run
around on his leash
37
Spurr
I ENVY Bill Hart! There's nothing in this world
I'd like better to do than to trade places with Bill for
a picture or two, wear a Stetson instead of a silk
topper, wave a six-gun in place of a Malacca cane, and in
general be a he-man of the
well-known open spaces in-
stead of a parlor ornament."
The c7WAN
Who ENVIES
BILL HART
Huntly Gordon made the announcement with the utter
unexpectedness of the traditional bolt from the blue.
We were parked at a corner table in the dining-room of
the Hollywood Athletic Club, trying to order luncheon
dishes cool enough to offset the ninety-in-the-shade tem-
perature that was frying the asphalt surface of Sunset
Boulevard just outside the window. Up until the time
that Huntly dropped the Bill Hart confession into our
midst like a verbal bombshell, our conversation had been
a reasonably sane one.
Gordon smiled quizzically at the look of blank surprise
that I couldn't quite conceal.
The Secret Longing
Spurr
mean it," he insisted. "Ever since I've been in
pictures I've longed to be allowed to do real out-
door stuff, with flaming six-shooters, hard-riding
cowboys, and all the violent and picturesque action
that such pictures demand. That is why I say that
I envy Bill Hart, Tom Mix, Fred Thomson, and all
the rest of the boys who are doing real Westerns.
They are doing just what I have always wanted to do — and
what I am going to do some day if I am ever given a chance."
Coming from any one of a half dozen other prominent masculine
players of the screen, this Bill Hart ambition might not have seemed
so startling. But from Huntly Gordon !
To the great majority of screen fans who are familiar with Gor-
don's personality only as it is shown in his work before the
camera, the announcement will probably create as much amaze-
ment as tho the Sphinx were suddenly to state to the world a
secret ambition to shake the dust of the centuries from her
recumbent form and do an abandoned Charleston over the
desert's burning sands.
Because Huntly Gordon's
screen roles have always been
so exactly the utter opposite of
outdoor stuff. He has always
appeared as the very epitome
of well-groomed dignity, im-
peccably attired in the gar-
Gordon's roles have always been the
opposite of outdoor stuff. He has al-
ways appeared as the very epitome of
well-groomed dignity, impeccably at-
tired in the garments of society. He
thinks it's time to make a change.
On the left he reckons as how
he feels like a human being
when he puts on his
hunting clothes and
accompanies Anna
Q. Nilsson in the
pursuit of par-
tridges
38
There Is a Perversity of Human
Nature Which Causes Everyone
to Long to Be Something Else
Than What He Is Represented.
No Matter How Successful a Man
May Be, He Suffers from Sup-
pressed Desires. Huntly Gordon
Has Always Cherished a Secret
Longing — a Romantic Urge to
Rough It in the Open Like the
Cowboys
By Hal K. Wells
mints of society, with a capital "S." superbly
poised, calmly aloof, and as solidly substantia]
as the Rock of Gibraltar.
When the average man climbs reluctantly
into a full-dress suit, the finished product
usually looks about as much at ease as a Polar
hear in a cauldron of hot soup. Huntly Gor-
don, however, has the rare faculty of being
ahle to don the most formal of togs
and then look as faultlessly
comfortable as tho he had
Been literally poured into
them.
This natural ability
to wear formal
clothes superbly well,
together with per-
fect poise and an
innate dignity of
manner, has re-
sulted in Gordon's
being invariably cast
in roles such as suc-
cessful brokers, promi-
nent professional men.
or staid judges of the
higher courts. The drawing-
room has been his usual screen
setting, and members of the Four Hundred
his inevitable associates.
Consequently, when the immaculate Huntly announces
I secret ambition to be a wild, rip-snortin', he-terror of
the open range, at first thought it seems almost as in-
congruous as the Statue of Liberty doing three rapid back
flips on her lofty pedestal and then yodeling "Here Conies
Charlie" in a clear soprano for the edification of an in-
coming boat-load of immigrants.
On second thought, however, there isn't really anything
so very incongruous in Huntly Gordon's desire to play
outdoor roles on the screen. For. oflf the screen, Huntly
is one of the most outstanding outdoor men in Holly-
wood. He is an ardent golfer, an expert tennis and
squash player, an enthusiastic fisherman, and an invet-
erate hunter.
In real life, the breath of the outdoors is the breath
of life to Gordon. He would rather be tramping joy-
ously over some mountain trail, a hundred miles from
Nowhere, than loll luxuriously in any drawing-room
ever built.
The breath of the outdoors is the breath of life to
Gordon. He would rather be tramping joyously over
some mountain trail, a hundred miles from Nowhere,
than loll luxuriously in any drawing-room ever built
Wants to Wear a Bandanna
'"That's the reason I envy Bill Hart and the rest of the
Western players," Gordon explained to me. "They
play day'after day, picture after picture, in the outdoor
type of stories that appeal to every natural inclinati >n I
have. Xot that I want to desert the society roles entirely.
But I do want to get just one fling at a real he-role once,
with all outdoors for my arena of action.
"I want t;> wear a bandanna handkerchief around my
neck instead of a bat-wing collar; riding boots instead of
patent-leather pumps; and get in action in an atmosphere
that is blue with powder smoke instead of the vapor from
perfumed cigarets. In other words, 1 want to trade the
aristocratic tea-cart for the pioneer covered wagon, the
parlor for the prairie, and polite acting for real action.
"Then, too, I've got the natural yearning for applause
that any normal person has. whether he be actor, doctor,
or plumber. Did you ever go to a matinee showing of a
Western picture and hear the kids — and some of their
elders, for that matter — go half crazy when the hard-
riding hero rescued the heroine amid a rain of lead that
would have made the Battle of Manila look like an April
shower? Well, I'm human enough that I would like to
hear those kids applaud me that way just once.
"In society pictures the hero usually gets about as much
(Continued on page SI |
39
it is To LAUGH
By
Fred Gilbert Blakeslee
IN ancient days in China,
when an artist had pro-
duced something which he
deemed of exceptional merit,
he took it to a Board of Ex-
aminers appointed by the emperor to pass judgment upon
works of art. If they thought favorably of his creation,
it was placed upon public exhibition for three days. If,
at the end of that time, no fault could be found with it.
it was purchased by the board and sent to the Imperial
palace.
Now, once upon a time, there was an artist of that
land, who carved in ivory a bird sitting upon a stalk of
grain and sent it to the board for examination. Being
favorably considered by them, it was placed upon public
exhibition and was highly approved by those who saw it.
On the third day, a farmer strayed into the hall where
the exhibition was being held and was heard to comment
unfavorably upon the carving. Upon being questioned
by a member of the board as to his reason for his dis-
approval, he replied, "The bird is perfect, and the stalk
is perfect, but whoever saw a bird sit upon a stalk of that
size without bending it." The carving did not go to the
palace.
Not According to Hoyle
Motion pictures are like that old piece of carving: ex-
cellent in many ways, poor in others. The fault
seems to lie between the author and the director in some
cases, and between the Research Department, the cos-
tumier and the directors in others. The author will write
an impossible scene, or else the director will add one for
40
It's all in the scheme of the movies. While the
sponsors "think out" the situations, the heroes
perform their miraculous stunts — all for the sake
of the punch
the sake of the "punch." and
thus we see such things in the
movies as a man on horseback
chasing and overtaking an au-
tomobile, a Western hero
roping a gun out of the hands of a man aiming it at
him, a knight in supposedly full armor swimming a river,
and an unarmed swashbuckler leaping upon a swordsman
whose point is threatening his breast, and overpowering
him.
Some years ago, I saw in a serial picture an incident
which affords an excellent example of an impossible
scene. The lovely heroine is crouched behind a rock,
while towards her creeps the masked man whose identity
has kept the audience guessing for many weeks. All is
over again ! But stay, her lover knows the Morse code
and is at this moment in the library of a house which is
supposedly visible from her hiding-place. Seizing a small
mirror from her bag, she flashes out a dot-and-dash mes-
sage for help, which her lover reads at a glance. Jump-
ing into his ever-ready car, he dashes madly to the rescue
and once more the fair heroine is saved.
Now in my younger days, I served years in the Signal
Corps of the Connecticut National Guard, and I know
that it is absolutely impossible to send a dot-and-dash
message by means of a hand mirror. Just to show the
impossibility of it, I will describe how an army helio-
graph, or sun mirror, is worked. The apparatus consists
of two tripods, a mirror with a little hole in the center,
a metal bar, a sighting rod, and a shutter. The mirror,
mounted at the rear end of the bar, is set up on the tripod
and carefully sighted, by means of the hole in the back.
.
The Author of This Article Has
a Bone to Pick With the Boys
Who Permit All Kinds of Errors
to Enter Into the Production of
Pictures. They Do Such Things
and They Wear Such Things
in the Movies
Drawings by
C. J. MULHOLLAND
at the Other station. The hole causes a sun-spot or
shadow to appear and when this rests on the point of the
ring rod at the front of the bar, the flash will be
visible at the other station. So delicate is the adjustment,
that the mirror has to t>e moved slightly from time to time
by means of thumb-screws so as to follow the movement
of the sun. Once adjustment has been secured, the
shutter, mounted upon the other tripod, is set up in front
of the mirror and then opened and shut so as to show
short or long flashes.
Even bad the fair one had all this apparatus with her.
she would have been in the grasp of the dreaded mask be-
fore she could have secured her adjustment, and as for
the marvelous speed with which the hero reads the sup-
posed message as it flashed upon the sword-decked walls
of his library. I can only hope that the Signal Corps had
the benefit of his services during the recent war.
The producers forget that there was such a
thing as a distinct style in the early seventies
and eighties. The women wore bustles and
pleated skirts, and the men who strolled down
the avenue with them were dressed up like a
Christmas tree
Should Be Shot at Sunrise
A no speaking of war, reminds me that some motion pic-
ture directors do many things in battle scenes for which
they would be court-mar-
tialed if they were in the
army. They love to plant
"Old Glory'* on the breast-
works so as to help the
enemy get the exact range,
and they have a penchant
for placing their artillery in
nice open lots where in ac-
tual warfare they would be
put out of action in ten min-
utes. I have seen in a pic-
ture a company of infantry
marching to war all armed
with rifles and not one of
them had a cartridge-belt or
even a bayonet. Thank the
Lord ! all directors are not
like this, and a few of them
have put on most realistic
battle scenes, but the aver-
age "battle" in the movies is
a confused jumble of which
neither the civilian nor the
soldier can make head or
tail.
So. much for the author
and the director Let us see
what the Research Depart-
ment and the costumer have
to offer.
Says Mr. Blakeslee:
"Some motion picture directors do many
things in battle scenes for which they would
be court-martialed if they were in the
army."
"It can be safely said that very few mo-
tion pictures of the costume type are cos-
tumed correctly in every respect."
"Most American producers fail to consult
technical experts along specialized lines as
is often done abroad."
"The costumers and the research depart-
ment need a wide range of knowledge, but
are prone to fake rather than admit their
ignorance."
"Sword play and knife fighting as seen in
motion pictures is not usually of a very high
order."
"The best knife fight which I ever saw
on the screen was in 'Orphans of the Storm'
— it was most realistic."
"The further back the supposed period of
the picture, the greater seems to be the per-
centage of error."
Wrong From the Start
It can be safely said that very few motion pictures of
the costume type are costumed correctly in every re-
spect. This is not altogether the fault of either the
research people or the costumer, but is due largely to the
failure of most American
producers to consult tech-
nical experts along special-
ized lines, as is often done
abroad.
From the very nature of
their work, both member> of
a Research Department and
costumers need a wide
range of knowledge and
cannot be expected to have
as exact available data as a
person who has made an ex-
tensive study of a specific
subject. When called upon
for information which they
do not possess, both are.
however, prone to fake,
rather than admit their
ignorance. The sj>eaking
statue is no better off in this
respect than the motion pic-
tures.
In Channing Pollock's
play, "The Fnemy." recently
on Broadway, one promi-
nent character in it, who
was supposed to be an
Austrian officer, appeared in
a German uniform until 1
{Continued on page 70)
41
EDNA MARIAN
This petite personality, finding herself at the top of the comedy heap in a reasonably short space of time,
has proved herself to be unique by buying her contract and calmly seeking new and larger worlds to conquer.
Edna made her screen debut in New York when but thirteen years of age. Then she went to Hollywood and
"crashed the gate." Her initiative led her straight to a neat little part in a Buster Keaton film. She did so
well that the gentlemen preferred the blonde as a comedy star
42
What It Costs to Be a Weil-
Dressed Auto
A special combination rear
courtesy, stop, and tail light, $16
A pair of heavily nickeled,
double-bar, spring bumpers, $60
A motor-driven wind-shield wiper, $8
An eight-day clock on the dash,
with radium dial for night
visibility, $30
German silver cigar-lighter on
the dash, $15
"Baby" spotlights beneath the
big front lamps, $20
A pair of special lenses in the main
headlights, $15
Extra tire and tube, $45
Special motometer, German
silver, monogrammed and
locked in place, $22
V
A pair of aluminum step-
plates on the running-boards, Total cost, approximately,
$5. $5,000
By Warren Dow
PHERE was a time when Hollywood
*- Boulevard swarmed with "jazz" auto-
mobiles which, in their weird trappings
and elaborate superstructures, looked like
a combination of a Welsh rarebit night-
mare and an Osage Indian's idea of
splendor.
That time has gone, apparently forever.
Today the cars of the Film Colony are
marked by an almost austere simplicity.
The "well-dressed" car of today is like the
well-dressed clubman, neat but not gaudy.
However, it fs possible to spend a very fair
bit of money in merely giving a car the
most orthodox of equipment.
For example, the white sport roadster
of Reginald Denny, pictured herewith,
cost, with all accessories and insurance,
just a few dollars short of an even $5,000.
The various items are listed abmc.
i
Impressions of Hollywood
AS I was leaving the Hal Roach lot the other day, I
discovered the "Our Gang" children grouped to-
L gether on a grass plot near the road where several
visitors stood with small Kodaks trying to get a picture
of the gang to take home to St. Louis to show to their
neighbors. The visitors apparently had some pull, be-
cause the studio manager and the matron were there, giv-
ing orders to the children and trying to keep them in
order. It was obvious that the gang were taking the
matter seriously, because they were playfully crowding
one another for the best positions in the line-up, and they
apparently esteemed it a great honor to be photographed.
Little black Farina was the most obvious. He (you
know it is a he — not a she) kept well in the center fore-
ground and, looking from one camera to the other, said :
"Say, which of them cameras is goin' ter do the shootin' ?"
Then he threw off his sweater and laid it aside, remarking
that he would look much better without it.
I suppose that Our Gang look upon the regular movie
photography as real work, but this was play — something
to be proud of — their photos were in demand by visitors
— were they not now in the same class with President
Coolidge, Jack Dempsey and Valentino ?
Foul Work at the Crossroads
Tust as I was leaving the Hal Roach lot, I saw a large
bewhiskered man carrying an apparently dead woman
across the road. Her head, arms and feet were dragging
limply in the dust, and it looked like foul murder. I
hastened to the spot ready to do a man's duty, but only to
find that it was a dummy. The poor thing had just been
beaten up by her husband and thrown from the tower of
the castle.
What Price Publicity?
Dola Negri was looking at
some of the stills showing
Valentino making violent love
to Vilma Banky in "The Son
of the Sheik."
"Ah !" exclaimed Pola, "He
make love to Vilma, but all
the time he think of me !"
In spite of reports to the
contrary, I think I can safely
say that there is not and never
has been any romance between
Vilma Banky and Rudolph
Valentino. I have been to the
Pickf ord-Fairbanks studio
dozens of times, when they
were making "The Son of the
Sheik" and talked with both of
them many times, and visited
their homes and I ought to
know. At the studio Rudy
dines in a studio cottage, and
there are usually two or three
men dining with him, includ-
ing his brother and his man-
ager who have the cottage all
to themselves. Vilma dines
all alone in her dressing-room.
Connie Talmadge has Mary
Pickford's cottage, which is
just across the lawn from
Valentino's, and she came
44
Freulich
Nothing could be more natural than the selection of
Mary Philbin to play Juliet in Shakespeare's im-
mortal tragedy, "Romeo and Juliet," which Universal
will humanize for the screen. The youthful Romeo
standing beneath Juliet's balcony is Andre Mattoni,
the Continental actor who is commonly called the
blond Valentino
across the other day and sat down at Rudy's table with us
for a while, but Vilma never does so. Whether she doesn't
want to, or wont because she fears to create a wrong im-
pression, I dont know, but I do know that Rudy has in-
vited her and that she never goes.
The Battle Continues
"There are about 20,000 theaters in the U. S. and ninety-
seven per cent, of them show motion pictures all or part
of the time. Only three per cent, of all the theaters do not
show any pictures at all. Twenty-five years ago none of
the theaters showed movies. A new movie theater is built
somewhere every working hour, while only one a week
is the average for the other kind. And thus the battle of
Movies vs. Speakies goes on, but it is a very one-sided
affair.
Let us hope for the day when there will be more the-
aters devoted entirely to movies with no vaudeville. And
let us hope they make the movies so good that they wont
even need a prolog or prelude. All those in favor of
more theaters for movies only, please say "I."
Fox Registering Pride
YXTatch out for "What Price Glory." The Fox people
"" seem to feel that it is going to beat "The Big Parade."
While this is doubtful, you may surely look forward to
this picture as one of the big events of the early fall.
Victor McLaglen will probably make a big hit in this
picture — even bigger than that of Karl Dane's. Dolores Del
Rio is also going strong, and so is Edmund Lowe and all
of them. And dont forget that Raoul Walsh is directing,
and that this same chap directed "The Thief of Bagdad"
and "The Wanderer."
I understand that "The
Wanderer" is not a big-money
maker, but that is not sur-
prising— it is too great and too
good for most people, just as
"The Last Laugh" was.
A Good Time Was Had
by All
The Fox Film Corporation
gave a dinner and dance re-
cently at the Ambassador Ho-
tel at which I and about 499
others were present. Between
courses everybody danced — or
tried to, but it was really im-
possible to do much dancing —
one might just as well expect
sardines in a box to dance.
All the Fox stars were
there, and most conspicuous
of all were the midget come-
dian, George Harris, and his
partner, Barbara Luddy, who
is equally diminutive, altho
there were all sizes and styles
present, including Jack Demp-
sey and Tom Mix who sat at
the same table and who danced
just like anybody else. Jack
dances quite well and he is not
at all awkward or clumsy.
Tom Mix is almost graceful
and he has a fine physique.
The Whole World Is Interested
in What's Going on in the Studio
City — the Capital of the Movies.
The Activities of the Stars and
the Progress of Productions —
These OfferTremendous Appeal
to the Picture Public. The Edi-
tor-in-Chief of the B re wster Pub-
lications Gives You First-Hand
Information of Hollywood and
Its Personalities
By Eugene V. Brewster
Of course, William Fox was very much there, includ-
ing his black mustache, and when he entered, everybody
arose and cheered. Little Georgie Harris was quite popu-
lar and ladies twice his height seemed to enjoy dancing
with him.
Greetings from Greta
r^RETA Xissen has at last consented to join Universal
and play the lead in a big picture that Jack McDermott
wrote and will direct. He has been wiring Greta daily
for weeks and finally got her consent. He says she is one
of the screen's most promising
artistes, if not the . . . And
he's going to have an all-star
cast, including Marc McDer-
mott, Trixi Friganza, Norman
Kerry, and so on.
Jack has the funniest house
I ever saw. It is way up on
top of a mountain, and he
made it all himself out of mo-
vie scenery and odds and ends
from different studios. It is
certainly a freak place, but
extremely interesting. Corliss
Palmer and I had bacon and
eggs with him there the other
day and he is a charming fel-
low. But he certainly gave us
some thrills going down that
steep, muddy, crooked, rocky
road in his Ford.
A Bad Break
Virginia Brown Faire is
another one of those who
have had "a bad break." She
got off to a good start in 1919
when at the age of fifteen she
won a Beauty Contest given
by Brewster Publications, and
I remember well her first ap-
pearance before me as direc-
tor. She was a beautiful little
brunette and photographed
llently, I atei on the got a i ontrai i and
\ C! \ Well
Then came ■ big pail In "Without Benertl of
i lergy," which ^l i<- quite ran away with, and it
looked u ii Virginia would be i top notchcr in
another year. But from then on she had ill luck.
Poor parts in poor picturei and the was almoet
lost ughl of. The latest is that ll >ren
signed by Sam Sax to play OppoaitC William
Fairbanks in "The-Mile-a-Minute Man " This
may be all ri^ht, but Virginia is entitled to tOTiM
thing better.
Among Those Present
Mokma Talmadgb gave a little dinner-party at
* ' her palatial home the other night and here's
a complete list of "among those present" : herself,
her husband, Joe Schenck, her mother, "Peg,"
her sister, Constance, her former leading man,
Eugene O'Brien, Buster Collier, the managing
editor of the Los Angeles Examiner ( Hearst
paper), Florence Lawrence, dramatic editor of
same, and poor little me. We had arrived at
seven but it was about eight before the butler
entered the drawing-room with "Dinner's
served." It was a fine dinner, excellently served
and everybody was jolly, and had a lovely time.
After coffee we all went into a large and ele-
gantly furnished lounging-room where they show picture-.
Buster, attired in a huge apron, ran the projection machine
and did a good job. But the picture was Corinne Griffith's
"Infatuation," and it did not make much of a hit with us.
During this, Dick Barthelmess came in and spent the rest
of the evening. At twelve-thirty I left for home and I
was nearly the last of the guests. And we were all per-
fectly sober, and there wasn't even any dancing. We
simply talked, in small groups, and occasionally listened to
the phonograph. Another one of those famous wild
Hollywood parties that you hear so much about.
Joseph Schenck is a very
rich man. but he did not make
it all in pictures. His interests
are varied, and he is an ex-
ceedingly we'1-informed man,
and a very likable man. He
converses freely on every con-
ceivable subject, and his ideas
and opinions seem to be care-
fully thought out.
The Correct Way to Say It
Cince "Beau Geste" will be
^ talked about a great deal
after the picture is released,
you may as well learn how it
is pronounced. I have heard
so many heated arguments on
whether it should be jest or
guest, that I looked it up.
On page 98 of the novel it
says : " 'Are you the jester ?'
'Xo. Aunt.' I replied with
feeble wit, 'only the Geste.' "
Which quite disposes of the
matter. It is Bo Jest.
A Talented Newcomer
International Newsreel
No matter how busy a producer may be on the
Coast, he firmly believes in relaxation. Here is Hal
Roach, who has taken time off from making comedies
to exercise his polo pony. That he is a proficient
polo player is proved by his membership with the
fast Midwick, Jr., team — the Pacific Coast champions
("^ardner James,
rived with a
who ar-
bang in
Blackton's •,Hell-Bent fer
Heaven," had me up to dinner
the other night. lie lives in a
(Continued on page 72)
45
Owr
OWN
NEWS
CAMERA
Gilliams
The rarin' Red Grange, ace of football
players, has arrived in Hollywood to make
a picture of his favorite sport. The other
day he visited Marion Davies, who auto-
graphed the famous half-back's helmet
'"•-*
Do you remember
Pepper, the comedy
cat that used to cut up
didoes in Mack Sennett
comedies? Well, to
show you how genius
is passed along, the
kitten on the right is
the old cat's grand-
daughter. She has been
named Pepper II —
and gives promise of
knowing a thing or
two about slap-stick
Geo. F. Cannons
We dont know
just how far Jane
Winton can put
the shot,
stripped to
B. V. D.'s
posing in
correct manner,
she should heave
it a goodly dis-
tance
But
her
and
the
Lya de Putti has a
unique way of telling
how the weather is
working when she feels
like taking a nap. If
the wind starts them
rocking, the strings tug
at her wrist and
awaken her. And so
she closes the window
46
.
A birthday cake was made and shared
in by the executives and stars of Famous
Players last May, in commemoration of
the laying of the corner-stone of the new
Paramount Building. Here are Adolphe
Menjou and Lois Wilson eagerly admu
ing the frosted sky-scraper — an exact
duplicate of the imposing edifice which
is being" erected in the Times Square
section of New York
\Vm A Rees
Below, you will discover Babe
Ruth up to one of his favorite
pastimes — which is autograph-
ing baseballs. When the big
bambino is not busy batting
balls out of the park, he delights
in signing his monicker to
them — and giving them away.
Madge Kennedy has just step-
ped up to take one from the
home-run king
L'mlcrwood & L'ndi
On the left is Helene
Chadwick about to start
for a big blowout. This
fan, which generates wind
for motion picture storm
scenes, will create enough
atmospheric furore to
blow down a well-built
house. On the right, Karl
Dane gives Joan Craw-
ford a shoulder ride
around the lot. As Karl
belongs in the tall, rangy
class, Joan feels way up
in the air when she
perches herself upon his
back
r «
International Newsreel
47
I
Twenty ounces
of clothes!
Yes- sir-ree,
boys, that's all
the weight
the modern
young woman
will carry
around this
sum m e r .
Dorothy Se-
bastian is the
young woman
who has gone
in for such
light luggage.
She got the
tip from Lon-
don. Notice
that the scales
even include
the shoes
Above, we have three of the world's most photographed men. Paul
Wrinkle, thirteen years old, is the champion autograph hunter. He
has been photographed with presidents and kings. Was he frightened
of Rudy Valentino and George Fitzmaurice? Not so you could notice
it. He hung around the stage door of the studio and secured the
autographs of the star and the director
"Throw away the vanity-box
and carry your make-up in your
hem!" That is Patricia Avery's
motto. She is wearing one of
the new dresses, boasting a cuff
around the bottom in which she
carries lip-stick, rouge and
powder. These necessary knick-
knacks are concealed by the cuff
when not in use
If you know what it means
to your dear old back when
you do the daily dozen, you
will understand that May
McAvoy's stunt of touching
the floor with the hands from
a standing position is not
mere child's play. This ex-
ercise enables May to keep
in trim for strenuous work
in pictures
48
GARDNER JAMES
Hcnr> Waxman
Isn't it about time to give this young fellow a hand? Not in seventeen blue moons has anyone flashed across
the silversheet with more natural ability than Gardner James. He has youth, personality and a rich play of
plastic expressions. We dont know who discovered him, but there's no doubt about his lifting several photoplays
and making them better for his presence. He did such finished acting in "Hell-Bent fer Heaven" that Richard
Barthelmess borrowed him for "The Amateur Gentleman
49
Owen Moore, masquerading as a woman, and Claire
Windsor in a scene from "Money Talks"
HARRY LANGDON has finally
won his spurs or laurels or col-
ors or what you care to call the
honors of stardom. Having been
bound to the two-reel comedy, he
has come along so fast that he is
entitled to a seat among the
comedians who have graduated
into the feature class. Which
means that he deserves to be
ranked along with Lloyd,
Keaton, ct al.
Surely no one is equipped
with a sounder knowledge
of what makes and sus-
tains the Big Laugh than
this same Langdon. He
has a ft r m
7
acquaintance
with panto-
mime and ex-
presses
comedy and its
allied ingredient, pathos,
with fine appreciation of
their values. But he waited
to make his feature debut
until he found something
good. And it arrived in
"Tramp, Tramp,
Tramp."
No comedian
could be more
adaptable to the y*4.'.-^
part of the con-
testant in a hiking
50
THE
CELLULOID
CRITIC
tour than Langdon. I found him very amusing. He doesn't
trespass on the 4ines marked out by other ranking fun-makers.
He has an individuality all his own. His best asset is his wistful
expression. On most of his journey he sees to it that he
suffers like Chaplin, tho he is no imitator.
The Funny Langdon
LJe experiences several difficulties which have been well timed
to provoke laughter. Still there are moments when the piece
pauses occasionally — as if it was out of breath and wanted to
catch up with itself. So that is why it loses some of its
spontaneity.
I shall dismiss these few errors and pin upon it the blue badge
of excellence. For indeed, Langdon releases oodles of fun in
his cross-country tramp. There is a
worthy thrill in the scene wherein
mm the comedian scales a fence to avoid
a flock of sheep. While perched on
top, he lets himself down slowly, try-
ing to find a landing place for his
feet. But he looks around
and discovers himself on
the edge of a cliff which
has a sheer drop of a few
hundred yards. His coat
catches on a nail of the
fence and soon the struc-
ture gives way — with
Langdon descending as
fast as Mother Earth and
gravity can attract him.
This is but one of many
ludicrous and original epi-
sodes in the picture. The
piece is more quiet than
"The Gold Rush," and not
so effervescent as "The
Freshman." But, never-
theless, it has its comicali-
ties. There is a final mo-
ment which contains a
rollicking bit. It shows
by trick photography the
gag of Langdon placing
himself . in a crib — and
Richard Barthel-
mess as a lieuten-
ant in the army has
a melodramatic
moment in his
latest picture,
"Ranson's Folly"
Laurence
Reid
Reviews the New
Photoplays
made to represent his own offspring.
The comedian's cherubic expression
comes ui hand) for this hilarious finish.
Not Up to Expectations
| dont find many pic-
torial values in
"Ranson's Folly,
Richard Barthel-
ni ess' n e w
canvas. Vs
fiction it had
its appeal
when Rich-
ard Hard-
ing Davis
wrote it
in a n y
y ears
ago, But
shaping
itself on
the screen
it doesn't re-
semble any-
thing but an
old-fashioned ro-
mantic melodrama
— with the obvious al-
ways in the offing, so that
any quality of suspense is, destroyed.
The piece carries Barthelmess and the spectators back
to the last century at the time the slippery Sioux had
been driven across the border. It gives the star an oppor-
tunity to portray one of those dashing lieutenants who,
to overcome the boredom of the post, stages a hold-up
out of pure mischief.
The plot revolves around the circumstantial evidence
piled up against him. And he, in a spirit of self-sacrifice,
admits the guilt to spare the father of the girl who cap-
tured his heart. This parent, in the meanwhile, has also
acted in the same spirit. But it is easy to anticipate that
neither will be held accountable for the crime.
That's .how hackneyed this picture is — what with a plot
that never develops any stirring action. There are some
first-rate atmospheric details — the old army uniforms and
the flouncing dresses worn by the officers' wives lending
a picturesque note. And the backgrounds are praise-
worthy, too.
The trouble is the weakness of the picture — for it is
not up to the Barthelmess mark. He conducts himself
heroically enough, but there are no occasions for
him to display any emotional fire. As for Dorothy
Mackaill, she wears her hair down her back and affects
an innocent appeal. It is just a part — and nothing
else. So I catalog this as just an ordinary melo-
drama. Barthelmess doesn't need these old-fashioned
stories with their old-fashioned heroics. He shines
best in the unusual characterizations.
Above, Harry Langdon joins the pick-and-shovel
gang in his first feature-length comedy, "Tramp,
Tramp, Tramp." At the left, Johnny Hines, in
"The Brown Derby," gets the surprise of his life
when he inherits the colorful head-piece from his
eccentric uncle
Taking Off the Mythical Kingdom
A BURLESQUE of the Graustark pattern is on view-
in "Sav It Ajrain" and it shapes up as first-rate
up
Dix-^
Say It Again" and it shap
entertainment, thanks to Richard Dix's <ense of
humor and Gregory La Cava's directorial whims.
This isn't to say that the pic-
ture is perfect. Indeed, it has .
its flaws. For one thing, it
never seems to make up j[
its mind which way it ,^0
is going. It
starts off on
^w 1
■'■ .
X
a romantic
tack, breezes
into bur-
lesque — and
back to the romantic vein
again — before it finishes
with an orgy of absurdities
The burlesque side of the
(Continued on page 78)
Richard Dix has borrowed
the parasol of the princess
to keep the rain off his gay
uniform — a scene from "Say
It Again"
<V
51
ON YOUR
Here is Jane Winton
all set to beat the
pistol and jump ahead
of the field. If there
is anything in the cor-
rect pose, Jane should
finish in ten seconds
flat
Doris Hill, above, also knows something
about making a fast get-away. With
fingers at tension — and with eyes straight
ahead — she expects to spring ahead of the
bunch and break the tape with yards to
spare
Fay Wray, on the right, shows
a good knee action which car-
ries her over the ground with
the speed of an antelope.
While the collegiates finish
their dashes with tense expres-
sions on their faces, Fay be-
lieves in smiling and taking it
easy. Thus she keeps the
beauty doctor away
Dorothy Dwan, on the left, demon-
strates how to cover yardage after
the pistol has cracked. Note that she
keeps her flying feet close together —
and that her arms are spread to aid
her legs in taking the air
■■MMM
■1BMWW
■
52
J
MARK-SET/ GO//
The Hollywood Girls' Track Team
Is Out to Meet All Comers. Coming
from Charlie Paddock's Country,
They've Picked Up a Few Pointers
on How to Make Their Legs Fly
from the Fastest Human in the
World. All Together Now, Folks
Let's Give Them a Long Cheer
53
THERE seems to be a jolly little mis-
understanding in London over "The
Big Parade. " Everyone on this
side of the big pond predicted a wonder-
ful reception for it when it made its Eng-
lish premiere. Yet the British critics be-
came bally well wrought up over it. They
declared the picture was nothing more or
less than American propaganda — con-
ceived and executed on the premise that
America won the war.
It strikes us that these Britishers have missed
the point entirely. If King Vidor had started
out to film episodes of the other Allies war ac-
tivities, he wouldn't have finished it yet. Like
a gigantic musical theme, the idea belongs to all
countries who participated in the Big Push.
True, the Americans made a belated appear-
ance, but they had their work cut out for them at
Chateau-Thierry and the Argonne. And these
war scenes are not to be considered as any at-
tempt by Vidor and his assistants to glorify the
American flag. The British had their represen-
tation in "Hearts of the World" and they
shouldn't have allowed their exclusion in The
Big Parade'' to spoil their sense of fair play..
Certainly the romance could represent any
Allied soldier who was billeted on French soil.
And the humorous interludes — the hasty prepa-
rations to reach the front lines, could be applied
to any nation as well as America.
For All Nations
[jF course, the picture was made for Amer-
^"^ ican patronage, but Vi-
dor never intended it as
propaganda. It is as if he
set up his camera to record
the soldiers' slant on the
war — and his soldiers hap-
pened to wear the khaki of
the United States army. The
subjects of other nations
should view it in this light.
Why the Britons can even
recognize the character of
Slim as a cousin of their own
Old Bill.
// Vidor had wanted to
make a Propaganda picture,
he would have waved the
flag all the way — and the
subtitles would have been
saturated with Yankee
patriotism. The London re-
viewers have not only mis-
understood the idea behind
it but they also have failed
to catch its eloquent^ spirit.
Had Vidor attempted to
show other nations activi-
FLASH
By L. R.
vv
Mi^z
^m\ ^kwv>S--'
P^x\4
Hf \
mjrn
IM
*m
K*-°* *•
TOM MIX
An Impression by Curzon
ties, his plot would have got away from him.
ft would have become detached and the sure-fire
dramatic strokes would have failed. ' Instead, he
employed the simplest measures of dramatic
construction. He chose his backgrounds and
shot his action against them, using the necessary
characters to build a moving story.
Hoffman's War Picture
TjERHAPS you remember that tender little
film, "Which Shall It Be?" If you do, you will
recall that it was made by one of the younger
directors — a young man with imagination and
feeling by the name of Renaud Hoffman. Kind
words were written and uttered in his favor and
the prediction was made that he would go far
with the megaphone.
So we anticipated something out of the ordi-
nary in "The Unknown Soldier.'' Well, he kept
faith with his ideals in giving what is called in
polite circles — an unhappy ending to the picture.
But the New York premiere was too premature.
Instead of showing the spiritual ending (that of
the marriage of the heroine with the spirit of
her departed soldier), the
obvious finish was tacked
on to it. And so New York-
ers condemned it as just an-
other picture.
Hoffman was consistent
all the way. He couldn't be
otherwise and keep to his
title and his text. Naturally
he insisted on the spiritual
ending, tho the happy touch
was also made for box-office
reasons. Thru some un-
accountable error the con-
ventional finish was shipped
to New York — this, on top of
the fine reception accorded
the spiritual ending in Los
Angeles.
The error has been recti-
fied so that other communi-
ties are receiving the picture
thoroly in character. Which
proves that audiences aren t
so unintelligent after all —
even if producers are not in
the habit of encouragingthem.
54
BACKS
About Pictures and People
De Mi lie's Ambitions
r^EClL B. DE MILLE is going to see if he
■-.an put over a companion picture to "The
should leave no stone unturned ton
mohng it V''"1""'' and moving in oil that
r/iiw.- WOftie iniply.
Cheers for Alec Francis
pOX has displayed good wisdom m
selecting Alec B. Francis to play
David Warheld s role in rlic screen ver-
sion of "The Return of Peter Grimm.
This very able character actor has some-
thing in common with Warfield s expressions.
His name is generally found in the vicinity of
the adjective "kindly. " And anyone who re-
members Peter Grimm will recall that the
Ten Commandments. having turned to the cnaracter was very kindly disposed toward the
Bible for inspiration in conceiving that eloquent i j
for inspiration in conceiving tnat eloq
opus, he will open the Good Book again and re-
cord the life of Christ.
The Biblical subjects (what few have been
visualized on the screen) have received a
world.
On the other hand, Fox is still hunting around
for Warfield's successors in "The Music Mas-
ter" and "The Auctioneer." Whoever is se-
lected will have to know the art of pantomime
healthy response from the public. Which tndi- to tne tips 0{ nis fingers and his eye-lashes — to
cates something of a spiritual hunger. And the
ever-active De Mille, whose effort to create
something lasting from the very moving and
dramatic pages of the Bible inspired other Pro-
ducers to dip into its pages, will make (what he
hopes it to be) the triumph of his career.
say nothing of the quivering lower lip.
Gilda s New York Public
rilLDA GRAY broke all the records for the
^"^ Rialto Theater during the run of her pic-
ture, "Aloma of the South Seas." This is not
De Mille had first intended calling it ' The surprising in view of her Popularity around
Deluge," the idea to be fashioned around Noah Times Square. Long recognized as one of the
and the Ark. But Warner Brothers have a most vivid Personalities of the "Follies" and the
Prior claim on the old man of the sea. Cecil was night clubs, the movie Patrons of the metropolis
not to be caught napping, however. He shifted were all curious to see how she fared in her
his idea from the Old Testament to the Hew — screen debut. It must also be mentioned that
and the Chnst will be humanized under the title Gilda made Personal appearances with the pic-
of The King of Kings.
De Mille will go further
than any other director has
ever gone with the Great
Teacher. He will actually
show Him in the flesh — and
not by means of symbols or
shadows. And His life will
be drawn in a human man-
ner. In other words, the di-
rector will Paint the Chnst
as a human being.
This all raises the very in-
teresting question — who will
play the Prince of Men? To
get the complete humanities
of the man, the actor se-
lected must needs carry out
some of His teachings. We
suggest that De Mille go to
the little village of Ober-
Ammergau in Bavaria —
made famous for the Pas-
sion Play, and enlist one of
its highly religious actors.
The subject should create a
sensation — and De Mille
CHESTER CONKLIN
An Impression by Taskey
tur e — a nd executed her
shimmering South Sea
dance — a dance in which
she outclasses the field.
If Gilda accompanies the
picture to other cities, doubt-
less other records will be
broken. Her Presence is
needed, for the film is no
"great shakes" as entertain-
ment. Indeed, she is the
sole reason for its produc-
tion— and for a debut she
gives decided promise of ac-
c o m pl i s hi ng something
worth while one of these
days.
A Real Surprise
r I 'HE surprising thing
about the record smash
at the Rialto is the way
"Aloma of the South Seas
topped the latest Harold
Lloyd picture, "For Heav-
en s Sake. ' The comedy
(Continued on page 88)
65
The
O'BRIEN BOY
gets a Kick
OUT of LIFE
By Scott Pierce
GEORGE O'BRIEN
himself is today
about the only per-
son in Hollywood who is
not yet aware of the fact
that George O'Brien has
"arrived."
Every one else in the
Film Capital knew that in
"The Iron Horse"
George scaled the cine-
matic ladder of fame in one
mighty bound and landed very
solidly at the top of the heap al-
most overnight.
The fact that about every-
one in Hollywood knew and
liked the big, genial young
Irishman made them just a bit
apprehensive over the spectacu-
lar suddenness of his rise to the
heights.
Because such "sky rocket"
leaps to glory have been known
in the past to have rather weird
effects in some few cases. Young
men who were quite normal and
likable before the event have
immediately afterwards gone in
George O'Brien is an all-
Irish-American who gets
variety and thrill out of
picture work. He comes
honestly by his love for ad-
venture and action, as his
father is the Chief of Police
in San Francisco. Natu-
rally, he throws himself
into every part with a
whole-hearted Celtic flavor
56
for expensive foreign cars, hats a full size larger, Eng-
lish accents, and an astounding loss of memory in recall-
ing former acquaintances.
Hollywood might have saved itself all worry, so far
as George was concerned. Because George doesn't
happen to be that kind of fellow. Swank-
is a quality that ranks just a little below
yellow fever in the O'Brien scheme of
things. George's grin is today just as
genial, his greeting to friends just as warm,
and his head just as level, as in the days of
not-so-long-ago when he was merely an as-
sistant cameraman with the Tom Mix unit.
Finds Thrills in Pictures
Came doesn't mean a great deal in
George's young life, anyway. He is very
frankly in pictures for the fun he is getting
out of the work.
The movies
offer variety,
thrills, and ac-
tion in large
quantities, and
(Continued on
page 86)
The
Roost
Where
ROY
Rests
Roy D'Arcy, the screen's most dashing dis-
penser of dark deeds, has a picturesque home
high up in Beverly Hills. He told the design-
ers and decorators to go the limit in making
it cozy, comfortable — and compelling to the
eye. By placing it up toward heaven, Roy
wanted the chance to find recreation and re-
demption and forget the ways of the flesh and
devil — which haunt him when he stalks the
sets.
At the top and bottom are the respective rear
and front views of the D'Arcy domain, while
in the center the head of the house has stepped
into the kitchen to show the Missus how to
season the sauce with spice.
V — f
57
Strauss Peyton
Jackie Coogan is fast growing up, and the
infantile locks will soon be shorn so that
he can play in "Johnny Get Your Hair Cut"
It is always the privilege of a dentist to give a patient an
unpleasant hour in the chair — which accounts for Charlie Chase's
painful expression
The Screen Observer
The Warfield Dramas
WILLIAM FOX has purchased all of the War-
field plays and now he is confronted by the sad
fact that there are no Warfields to play in them.
Every character man in Hollywood has been considered
for one or more of the familiar stage parts, but in every
case the studio officials perceived that comparison with
the original would provoke only laughter from the audi-
ence. There is one exception to this situation. George
Sydney is perfectly cast as the Hebrew comedy character
of the title-role in "The Auctioneer."
And Jean Hersholt will play Peter in "The Return of
Peter Grimm," if Universal will lend him. Universal,
however, shows no great readiness to accommodate rival
studios with the services of choice players. Right now
there is some difficulty over getting the loan of Hersholt
for Erich von Stroheim's "The Wedding March."
Just Heinie
My sympathy goes out to Heinie, the extra.. I think he
should have been a star long ago. Heinie — he has
no other name, so far as I know — is a dwarfed figure
with a head as smooth and hairless as an egg and a
mouth into which he can insert three billiard balls at one
time without inconvenience. His services are in de-
mand to lend grotesquerie to the scenes of nearly every
picture. I never sit in a movie show but I see Heinie
performing some tantalizing bit. For Heinie is an actor
of no mean ability.
Now Constance Talmadge gave a party for her new
husband, Captain Alistair Mackintosh. Heinie was em-
ployed to give a fillip to the blase assembly. Equipped
with a pair of wings and a harp, Heinie was suspended
from the ceiling and when all the guests were assembled,
a curtain was drawn, revealing the most amazing angel
that ever trod the golden stair.
58
After his stunt Heinie descended from his perch and
attempted to mingle with the guests. He was repulsed
with laughter and informed by the servants that he had
been invited to the party solely in a professional capacity.
"What the hell?" said Heinie. "I'm as much an actor
as they are."
So saying, he took the fifteen bucks — -his dole for the
evening's antic — and departed in high dudgeon.
For my part, I think Heinie was right. He is as much
of an actor as many of those present. And as for social
standing — My Word !
Leave It to Lon
In this wonderful atmosphere of make-believe, as the
lady fan writers love to say, it is gratifying once in a
while to find an artist who is sincere enough about his
work to put himself to some inconvenience in its prose-
cution.
Such an artist is Lon Chaney. Otherwise he would
never have submitted to the going-over which I watched
him taking from Sergeant Hoffman of the U. S. Marine
Base at San Diego.
Chaney is making a war picture — war pictures are
the vogue again, you know — a war picture entitled "Tell
It to the Marines." Sergeant Hoffman was employed
by the Metro-Goldwyn-Mayer studio with the consent of
the Marine Base commandant, to teach the actor the
things he ought to know about soldiering. Sergeant
Hoffman is six feet tall and he has a jaw of iron. When
informed of his new duties, he remarked fervently :
"All my life I've wanted to drill a movie actor."
I watched the sarge putting Chaney and William
Haines thru the rudiments of file drill. He had to begin
at the beginning by teaching them to stand at attention.
Sergeant Hoffman kept up the grilling for better than an
hour. Chaney seemed to be standing it all right, but
poor Bill Haines, softened by many a studio tea scene,
I—
Here is a scene from "The Marriage Clause," which brings Lois Weber,
the only woman director, to the screen. It is a sort of SvtngalLTrilby
affair with Billie Dove and Francis X. Bushman in the leading roles
The young man gazing so intently at you,
is Douglas Gilmore — who is getting his
share of good assignments
Has His Say— By don ryan
was perspiring profusely and the expression on his face'
was one of real distress.
But he didn't complain. And I predict that Sergeant
Hoffman will make leathernecks out of his raw recruits
before the picture is over.
Royalty Receives
r\0UGL.\s Fairbanks and Mary Pickford are making
the rounds of royalty, as usual. All of the temporal
monarchs are honored to receive them, hut so far His
Holiness, the Pope, has not been at home in the Vatican
when they called.
1 am informed by Mark Larkin, the Pickford-Fairbanks
publicity seneschal, that Doug is looking over the Ufa
studio in Germany with an eye to its availability for his
use. If he finds it sufficiently equipped for his purpose,
Doug expects to make his next picture there. He is
keen to try his luck among the cinematic artists of the
World, who would be his advisers.
But it seems that Doug will have to hurry or Uncle
Carl Laemmle will have all the Old World artists cor-
ralled in Universal City.
The Busy Von
I've been trying to find out when Erich von Stroheim
will actually begin shooting "The Wedding March."
As he is considered among the greatest of directors, I
have put forth a special effort to discover his activities.
The voice of Von came to me over the telephone the
other day for the first time in months. He told me he
had been away in the mountains rewriting the script for
his story. The wary Paramount officials are making him
do all the cutting of scenes in the script instead of in the
film. Paper is cheaper than celluloid. It is rumored
around that he had written an ending for the picture
which didn't suit the powers — no pun upon the name of
the redoubtable Pat — that be. When he called me, he
had just completed the new ending, which being more
cheerful, he hoped would please them.
As the story now stands, the hero, played by von
Stroheim himself, will ride away to war. leaving the
heroine praying in a nunnery. Whether he comes back
to her or not is left to the imagination of the audience.
Von has assembled everything necessary to make this
picture one of the masterpieces of realism for which he
is famous. Authentic uniforms, which formerly adorned
the officers of the Austrian army, were purchased and
imported and now lie folded in a mighty heap in the
wardrobe room of the Associated Studio, where the pic-
ture will be shot. Decorations of every kind, purchased
from pawn-brokers and collectors, have been assembled
to deck the bosoms of the gentlemen who will compose
the von Stroheim army corps.
Among the medals pointed out to me by a former
Austrian cavalry officer are the Jubilee medals, the (
of Merit, the Grand Cross, the War Medal of 1866, Iron
Crowns of the first, second and third classes. Medals of
the Order of Leopold, the Order of the Golden Fleece,
and many others.
Von told me he expected to be under way within four
weeks. So by the time this tip reaches the public the
picture, no doubt, will have begun.
Loses the Locks
f saw Jackie Coogan the other day for the first time
without the Dutch bob that for >ix years has car
fat matrons to exclaim. "Ain't he cute!"
Jackie, in fact, has suddenly grown up. When a star
of his magnitude is shorn of his infantile locks, it is an
event of such importance that it has to be immortalized
in a movie. So the next vehicle for Jackie — the one on
which he is now engaged — will be entitled "Johnny Get
Your Hair Cut."
The Coogan kid plays the role of a youthful hobo who
59
Spurr
Here are Constance Talmadge and her new
leading man, Tullio Carminati, who for-
merly played opposite Duse
The far-famed "What Price Glory?" has reached the celluloid
state and Edmund Lowe has been engaged to play the hard-
boiled sergeant of the "leathernecks '
Autrey
I
beats his way to Latonia, Kentucky, scene of many rac-
ing classics, and becomes a jockey, naturally riding the
winning horse in the Kentucky derby. The Jack Coogans,
father and son, have already departed for Latonia,
where most of the scenes will be made.
The race-horse story was written for Jackie by Gerald
Beaumont. The picture will be released thru Metro-
Gold wyn-Mayer.
Not Always Fair Weather
n spite of propaganda sent out by the Los Angeles
Chamber of Commerce calling attention to the mean
average temperature of the Glorious Southland, we do
have a few uncomfortably hot days in this latitude.
These days are the ones invariably selected by motion
picture directors for the filming of Alaskan or Siberian
scenes in which the poor actors are swathed in furs.
On one such day I wandered across the Pick ford-
Fairbanks lot, now leased to Joe Schenck. The sound of
sleigh-bells attracted me to a set where tons of salt cov-
ered everything, presenting the illusion of snow.
Two cutters emerged from the courtyard of a castle
and stopped in front of the cameras. Swathed in furs,
a blonde lady hastily descended from one of the sleighs,
shook the prop snow from her shoulders and vanished
in the castle. A director shouted, "Cut !" The actress
shed her sables, kicked off a pair of galoshes, and began
ardently to fan herself. I recognized her then as Con-
stance Talmadge.
Miss Talmadge is making "The Duchess of Buffalo."
It may be her last picture. She told me that she may
quit the game and be plain Mrs. Mackintosh for the rest
of her life.
She is fortunate in having for her leading man in the
wintry picture the talented Italian, Tullio Carminati,
formerly leading man and managing director for Eleonora
Duse. When I saw this young man making love on the
stage of a Los Angeles theater, I wondered why in the
world some producer didn't nab him. But nobody took
the hint until Schenck brought him back to America last
fall and placed him under a two-year contract.
A Comeback
[ fancy it will be pleasant to the believers in women's
rights to hear that Lois Weber, who, for a long time
has been the lone woman director in motion pictures, has
staged a comeback.
Miss Weber was out of the running for about five
years until she got a job at Universal to make a picture
from Dana Burnett's "Technic." The result is called
"The Marriage Clause." It is a highly creditable picture,
taking into account the limitations to which the feminine
director was subjected.
Billie Dove and Francis X. Bushman have the leading
parts. It is in the nature of a comeback for Bushman
as well as the directress. The story is a Svengali-Trilby
affair, in which a young girl, aspiring to stage success, is
taken in hand by a director who puts her over. But as
she rises he descends. There is a thrilling finish in which
the Svengali impresario pulls himself together and by
force of his will compels the girl to give a triumphant
performance altho she is seriously ill.
Glory for Two
More eyebrows have been arched in surprise in Holly-
wood over the casting of "What Price Glory?" than
have been raised since Jackie Coogan proposed playing
"Hamlet."
The two principal characters, the rivals of the stage-
play, are a most ill-assorted pair. Captain Flagg is
played by Victor McLaglen, the giant of "The Unholy
Three." Edmund Lowe, esteemed for his suave society
types, is cast as the hard-boiled Sergeant Quirk. The
girl, Charmaine, is played by Dolores del Rio, the new
Mexican beauty, who is of the most decided Spanish type
and resembles a village maid of France about as much as
she resembles Mrs. Cal Coolidge. The comparison of
Senorita del Rio with Renee Adoree of "The Big Parade"
will be inevitable, and no matter how well the charming
senorita performs, the fact remains that she does not look
the part.
Fox has expanded the war play by writing in a
60
n ASSIC
Smith
He is known by no other name than Heinl.-. Whenever a picture
needs a dash of slap-stick or comedy relief, this very busy extra
is engaged to do his stuff
Sirami Peyt
Cecil B. De Mille has a way of discovering
new talent. The young man above is
Kenneth Thompson — C. B.'s newest "find"
sequence that takes place in China and the Philippines in
the years 1911-14.
The Light Fantastic
Summer in Hollywood is not without entertainment for
^ our lighter moments. "Chariot's Revue" is running
at the new El Capitan Theater, the first legitimate theater
to be erected in our celluloid metropolis.
At the Orange Grove Theater in Los Angeles— a sub-
urb of Hollywood — the inimitable "Music Hall Revue,"
staged by Will Morrissey, is attracting crowds of the
cognoscenti, as well as those whose occupation is the
merchandising of dairy products.
The revue is such a success that Ralph Spence, Will
Morrissey and Arthur Freed have incorporated for
$100,000 and will put on a series of shows at the Orange
Grove. The next will be called "Polly of Hollywood."
Spence is the author of "The Gorilla." Freed is a
well-known song writer. Morrissey, himself, is one of
the keenest satirists of the American stage. Midgie
Miller is to be starred in all the shows of the Orange
Grove
Pola's Directors
It's just one director after another with Pola Negri. In
her effort to find someone who understands her she has
employed most of the directors on the Lasky lot. Ever
since she stepped on American soil she has not had re-
vealed the talent which marked her work in the German
production, "Passion." And the blame has rested
equally on the mediocre stories given her and on the
directors. The latter have failed to understand her.
About the most successful of the directors who have
handled her is Mai St. Clair, who was in charge of
Pola's latest picture, "Good and Naughty." At least, he
has made her bring out a sympathetic characterization —
as well as establishing the fact that she knows a comedy
scene when she sees it.
But St. Clair wont linger with her. He has other work
cut out for him. So Pola, according to my spies on the
Coast, will give Mauritz Stiller a chance to understand
her moods and make the best of them. The tempera-
mental Swedish director, who has but recently come to
America, has been given a verbal barrage of bouquets by
the other foreigners who handle the megaphone. Prac-
tically all of them proclaim him the master of them all.
The story goes that when he was assigned by Metro-
Goldwyn to direct "The Temptress" he became so vio-
lently temperamental that no one could get along with
him — and in the middle of the picture he was discharged,
Fred Niblo taking his place. Now that he has found
another job the public is engaged in watchful waiting to
see how Pola fares under his guidance.
Stiller may be the man to lead her out of the Egypt
of mediocre pictures. The cry was raised from the start
that the Polish star, being a foreigner, needed a foreign
director to handle her. Yet Buchowetzki failed to accom-
plish anything out of the ordinary when he directed her.
Maybe it needs temperament to combat temperament.
With Stiller having his share of it — as well as Pola.
probably they'll get along very well together.
Natural Colors
umors fly thick and fast on the Coast and it's difficult
tackling them and bringing them to earth. One of
the latest to warrant the chasing o; it around the lots
concerns Cecil B. De Mille. Ever up on his toes with
bright ideas — ever alert as to what constitutes a "scoop"
on his neighbors, C. B. is going in for natural colors —
and they dont pertain to any technical process, either.
The story goes that having seen how Belasco has
profited by introducing colored types in his stage produc-
tion, "Lulu Belle," he will do a story based on Negro
life — carrying the tentative title of "Porgy."
C. B. is ever after novelties. He knows as well as the
next man who walks with his eyes open that the dark-
skinned South Sea Islander is not so much in popular
favor these days — that the public is fed up with the brown
Peter Pan of the Pacific. And so, if the story contains an
ounce of truth, he will concentrate one of these days on
a deep-hued brunette.
But he will have to work fast. Reports have it that
Monta Bell has ambitions to make a picture with Negro
{Continued on page 89)
R
61
H. R. H.
DUCHESS
A duchess can even be unhappy. When she
tries to occupy a throne which is ten sizes
too large for her, you wish she could kick
over the traces and enjoy herself
62
The Answer
Replies to CLASSIC Readers
. v t In i a were
■ in the midst of the strike in
Ion. Guess n was pretty ex-
ihn Barrymore and Do
jtello arc to be co-starred
ni "Manon Lescaut."
Mary A. Fire away ! This is
the month for it You say : "Your
. methinks, is like an hour-
ins imaginations run
sands, filling up time." Ricardo Cortez's real name is Jacob
Kr.mtz. And now you want the life story of Ramon Novarro.
I'll see what 1 can do. At this writing he is in New York.
\ P. Well, what class of women are most apt to give
tone to society? The Hello? You want a picture of Buck
That ought to be easy. And you like Irene Rich in sad
stor> scenes She is good at that, isn't she? There's been
lange. Eric von Stroheim is not to direct Pola Negri in
"Hotel Imperial" after all.
LYNN.- Yes, it is $15.00 per. And you dont believe it. At
twenty he thinks he can save the world: at thirty he begin- to
wish he could save part of his salary. William Boyd is playing
in "Man o' War" with Jetta Goudal.
Peggy F.— Listen here, Peggy. I only answer questions for
this magazine and the Motion Picture Magazine, the latter being
the first motion picture magazine in existence, and that's not
maybe. So you think Mae Murray is really beautiful. I guess
you are not alone. Norma Shearer in "Up Stage."
KlTTY. — Say, I'm not a weather bureau, how do I know whether
Elinor Faire and William Boyd are always going to be happy.
You never know when there's going to be a storm. Yes. Norma
Talmadge is married to Joseph Schenck. Betty Blythe is expected
back in New York in August to fulfill a vaudeville engagement.
Bin C. — I dont know about the greatest battle of screen giants,
altho I never will forget the fight between Tom Santschi and
Bill Farnum in "The Spoilers" at the opening of the Strand, in
New York City, in 1914. I think the greatest would be between
Tom and Hobart Bosworth. You know Mary Pick ford is in
Europe at this writing. Address Buck Jones at Fox Studios,
14(12 North Western Avenue, Hollywood, California.
Irene H.— Well, you know. Irene, the more idle a woman's
hand, the more occupied her heart. You remind me of this little
verse :
I wish I was a little rock
Away up on a hill ;
A doin' nothing all day long
But just a sittin' still.
I wouldn't work, I wouldn't sleep
I wouldn't even wash ;
I'd just sit still a thousand years
And rest myself, by gosh!
>ur favorites are Douglas Fairbanks and Mae Murray
you wouldn't want to see them play together, would you ?
Murray is playing in "Altars of Desire."
Big Boy. — The "grand dame" you refer to who is so aristo-
cratic as mother, dowager, and royal personages of advanced
age is Kate Lester, but she is of the old Suydams of New York
and that is her name. She has a firm background, having plaved
with Richard Mansfield, John Drew, Mrs. Fiske, Julia Marlowe.
William H. Crane, Henrietta Crossman, Robert Mantel! and all
the rest of them. Norman Kerry is playing in "Love Me and
the World Is Mine."
Monsieur G. — Wee, wee, but men love at first and most
warmly; women love last and longest. This is natural enough;
THE ANSWER MAN is at your service. If you
want an answer by mail, enclose a stamped addressed
envelope. If you wish the answer to appear in THE
CLASSIC, write at the top of your letter the name
you want printed, and at the bottom youi full name
and address. Address: The Answer Man. Motion
Picture Classic, 175 Duffield Street, Brooklyn, N. Y.
But
Mae
for nature make- women to be won
and men to win. You can reach
William Haines at Metro-Goldwyn,
Culver City, California. Thank-
for the invitation, I would like very
much to run out to Illinois just to
give the "girls a treat "
Bettie K.— I should -ay these
whiskers of mine are warm. You
can reach Greta Garbo at Metro
Goldwyn Studios, Culver City. California. Alice Joyce is to
be featured in the next W. C Field i i< tun 7<>ur Old
Man." Adolphe Menjou in "The Ace of Cads." Vilma Hanky
and Agnes Ayres in "The Son of the Sheik." Why Dolores
Costello weighs about 120 pounds.
Helen S. — Yes, Monte Blue has a little daughter. Barbara
Ann, born on April 5th. Fox are producing "Is Zat So," with
Virginia Valli. Wanda Hawley and Gareth Hughes in "The
Totem Pole Beggar." Syd Chaplin's next is "The Cue'..
Nest" from an old English play. See you later. Helen.
Con me P. — Just address Corinne Griffith at the United Studios
II. B. W'arner has been signed for a lead in Metro-Goldwyn's
"The Temptress." Yes, Francis X. Bushman in "Butterflies in
the Rain." with Laura LaPlante. Run in again some time, when
you can stay longer.
1 koi.vn O. — That's all right, there are nearly 1,400 de\
patented by women in this country. Peggy Joyce did play in
a picture some time ago. "The Skyrocket," and she is to make
some more for Associated Exhibitors.
FELIX. — I'm right on hand, always at the question post You're
right, love is the beginning, the middle and the end of everything.
Greta Nissen weighs about 110 pounds. You say you know
for a positive fact Harold Lloyd likes radishes. Maybe he-
likes red. John Barrymore in "The Sea Beast," "Don Juan"
and "Manon Lescaut."
J. U. C. Manila. — I dont think Alma Rubens and her husband,
Ricardo Cortez, went to Manila on their honeymoon as antici-
pated. William Cody's initial starring picture for Associated
Exhibitors will be "The Galloping Cowboy" with Florence
L'lrich, sister to Lenore.
Wild Kin, Singapore. — So, F. A. S.. 90-B Bukit, Temah Road,
Singapore, S. S., would like to join one of the correspondence
clubs. Take it easy, girls. I'm sorry, old man. but 1 dont happen
to know the price of Buck Jones' hat. You mean the broad
brimmed cowboy hats. Better send for a Sears-Roebuck catalog.
Chicago, Illinois. Ruth Clifford is married to James A. Corneliu.-.
MORRIS K. — Well, to educate a man is to form an individual
who leaves nothing behind ; to educate a woman is to form future
generations. Jackie Coogan was born Octol r 26, 1914. and he
is playing in "Johnny-Get-Your-Hair-Cut."
[SABELLE J. — Yes, Leatrice Joy and her brother, Billy, came
over to Brooklyn to see us. She was very popular around the
magazine offices, Leatrice was quite at home, and we were sorry
not to have her with us longer. So you want Ronald Colman to
read "Gentlemen Prefer Blondes." Do you think he should ?
Blanche K. — Well. Natacha Rambova doesn't tell her
and neither does Jean Acker. Valentino has been married only
twice.
Mus. H. M. — You're quite right, the more women have risked
the more they are willing to sacrifice. Yes, Valentino lives at
Beverly Hills. California. George O'Brien is playing in "The
Story of Mother Machree."
Evelyn G. — Well, you know that Richard Barthelmess was
(Continued on page 90)
63
THE f
Celluloid|
CRUISE
of the 1
Continents
Marietta Millner, the Austrian star, has been engaged
for Universal's 'round-the-world pictures
Wide World Photos
On any cruise of the continents you would naturally
expect the Germans to be represented. Which ac-
counts for Elga Brink, one of Berlin's leading picture
stars
64
Among those who will be featured on this globe-encircling
tour with Kleigs and camera is Jack Trevor, an English actor
FOR the first time in motion picture history Universal
will produce three encircling-the-globe pictures.
The idea is a result of conferences arranged by Carl
Laemmle, the chief mogul of Universal, while abroad
last year. The company was gathered together in Ger-
many and production has already been started on the first
of the films, "The Woman Without a Name."
When the troupers reached New York, they immedi-
ately set sail for Havana and environs to take exteriors.
Eventually the two-part feature will be finished in San
Francisco and Universal City.
The title of the other picture is "Forbidden Kisses" and
the itinerary calls for visits to Honolulu, Shanghai, Tokyo
and other Oriental cities. The return to Germany, where
the interiors will be filmed — will be over the trans-
Siberian railroad.
The celluloid tourists will be under the leadership of
George Jacoby, the European director. He is known in
this country for his production of "Quo Vadis."
_,
WMW/ ;.
THOMAS MEIGH/L
~l Vl
— A Home Portrait.
wno&i'G
i\C ConrfencQ
\ 'Tklmadgp
Vizewinners in our One
Week Competition
It's the Personality That Counts
( c ontinmd t ' '»i Pao* l() >
proves conclusive!) tint as appraisers ol
prospective screen talent out producers and
experts would make good piano turn-!'.
Bring on the Defecta
VJ/itv ileal in a lot ol moss covered theo
W rieS, when there .ire |>lent\ ol ie.il I.nl-
staring them right in the face? To punc
Hull
Jack Pickford
ture the light-eye theory, it is only neces-
to refer to a list of our screen fa-
vorites, and we find: Mae Murray, Gloria
Swanson, Marion Davies, Douglas Fair-
banks, Fred Thomson, Eugene O'Brien,
Reginald Denny. Thomas Meighan, Lillian
Gish. Vilma Banky, Renee Adoree, May
IfcAvoy, Blanche Sweet, Corinne Griffith.
Dolores Costello, Anna Q. Nilsson, and
others with decidedly light-colored eyes
Vet only the other day I heard a well-
known producer reject a young actor who
appears to be one of the most likely pros-
pects that has arrived in the film colony
for many years, because "his eyes are too
light." And this producer thinks he knows
a great deal about the picture business.
I have seen producers turn down young
screen prospects for almost every sort of
reason imaginable, because of fat ankles,
because of promineni noses, because their
gums showed when they smiled broadly,
because their eyes were too close together,
because of high cheek-bones, because their
ears were too large, and because their fea-
tures were too small. Ye,t by a moment's
reflection, the producer could have discov-
ered that there are many favorites upon
the screen who have one or more or all of
these defects.
In fact, there seems to be no defect that
completely bars a player from popularity if
he or she has other pleasing qualities.
There are even three popular young ac-
tresses on the screen at the present time —
chivalry forbids mentioning their names —
whose eyes refuse to look at the same place
simultaneously.
Moss-Covered Regulations
As for the old chestnut which says that
screen actresses — conversely to screen
actors — should be short, there are Con-
Krnnrth Alexander
Mae Murray
stance Talmadge, Eleanor Boardman, Es-
ther Ralston, Colleen Moore, Vilma Banky,
Leatrice Joy. Lois Wilson, Claire Windsor,
Irene Rich. N'ita N'aldi, Greta Garbo and
Anna Q. Nilsson to relegate this rule into
the discard.
By all means, let us not forget regulation
NO. 316, which states that screen leading
men should be smooth-shaven, while screen
villains should boast some hirsute adorn-
ment. In the past year or so, however,
this canon has been smashed to smithereens,
thanks to Ronald Colman, John Gilbert,
Adolphe Menjou, Lew Cody, Lewis Stone,
and even Douglas Fairbanks.
If this sort of thing keeps up, we may
even live to see the day when the fashion
for heroes will be a complete set of chin-
whiskers.
Rules, regulations, laws and dogmas — the
film industry is full of them, but they dont
mean anything.
They said that comedians couldn't be
serious, and Chaplin proved that he could
be tragic and make the public like it.
They said that comedians had to wear
trick clothes and a funny mustache, and
Harold Lloyd became the biggest money-
maker in film history without either.
They said that comedians had to have a
droll appearance and along comes the good-
looking Raymond Griffith.
Why, Buster Keaton proved that a come-
dian doesn't even have to be funny.
They're Out of the Rut
Dudolph Valentino's rise to popularity
was another setback for the rule-
makers. Rudy had been knocking about
Hollywood for several years trying to
break into the movies. The best he ever
got was a few unimportant roles. The pro-
ducers and casting agents declared that he
violated rule No. 226-A — he was too
foreign-looking.
The experts knew — so they said — the
American public did not care for foreign
players on the screen. Then came the
"Four Horsemen."
Rule No, 226 x »j' smothered undei ■><>
avalanche "i foreign players who Ik-kjh to
' the Amrrn.ni nrrni, jnd the |
IS villi nil
Valentino, who i ouldn l
he was • .mi iixikiiig. became the
idol "i the American public ami the r«
homed away I p some new rule*
Bull Montana
It might also be mentioned that Valen-
tino broke other rules in his ascent to film
fame, his eyes being smaller and more
closely together than movie dogma allowed.
Norma Shearer might be mentioned as
another player who had a long struggle in
breaking into the films, because she did
not answer the accepted screen require-
ments. It was only after learning many
make-up tricks and much experience before
the camera that Norma discovered how to
fool the experts and make them think she
had a screen face.
When Douglas Fairbanks first tried his
hand at the silent drama, it was predicted
by many that he would be a big failure.
In those days, it was a custom for all
screen players to act very slowly. In fact,
they moved and walked about before the
camera in a very self-conscious and cum-
bersome manner. The idea was to register
everything deliberately and with great im-
portance to the spectator.
Fairbanks didn't know anything about
this and he nearly broke the hearts of a
number of experts by ignoring one of their
most iron-clad rules. Doug moved and
jumped about before the camera with an
alacrity that made the experts shake their
heads and turn thumbs down.
When Doug began to appear on the
screens thruout the country, however, the
public at once seized upon him as a per-
sonality refreshing and different. Instead
of slowing down in his movements, Doug
put on a little extra steam and soon became
the biggest favorite of the day.
Symmetry Does Not Shine
It is not necessary to go into embarrassing
details, but anyone who will impartially
analyze the feaures of Norma Talmadge,
(Continued on page 79)
Thomas Meighan
Strauss Peyton
Ramon Novarro
Moray
Milton Sills
Masters of the Motion Picture
(Continued from page 25)
food for thought. Fur-
thermore, he never in-
sults the understanding.
Here, since we are all
grown-ups, a courtesan
is a courtesan ; a pan-
der is a pander. We
are made to feel the
reality of these genre
portraits despite their
romantic background.
The Art of Satire
Iubitsch's social sa-
tires, such as "The
Marriage Circle" and
"Kiss Me Again," force
themselves even more
easily into the category
of masterpieces.
There is less glitter
to dazzle your eyes.
The nature of these
films is simpler, as the
highest art is nearly al-
ways the simplest.
While dealing with
more trivial moods,
"Kiss Me Again," for
instance, is created out
of much characteristic
movie "business." There
is a sequence running several thousand
feet in which the husband and wife, Monte
Blue and Marie Prevost, discuss with
their lawyer the most sensible method of
getting their divorce. The pantomime here
is tremendously funny without having any
of the dynamic farce of the Harold Lloyd
buffoonery. The face, hands, body of
Monte Blue suddenly become an instru-
ment that flickers before the camera lens
with infinite fantasy. The film offers a
brilliant psychological portrait of these
frivolous but extremely human charac-
ters.
Instead of being panoramic like Griffith,
who gives you a great sweep of thousands
of men and horses over a span of years,
Lubitsch is analytical, and prefers to film
a few highly concentrated moments which
have the imaginative fillup of any highly
distilled beverage. It all has the effect
sometimes of certain dreams in which
events unfold themselves with an unearthly
clarity, so that every detail of a room, of
a person's speech, is imprinted on your
mind.
"To see eternity in a grain of sand . . ."
said the poet, Blake. And Lubitsch can
see and show us eternal truths in a casual
gesture, or the oscillations of Mr. Menjou's
eyebrows.
Lubitsch's great stunt is that he gets all
these effects with such simple means, with
such reasonable material ; like the frame-
work of the old domestic triangle. He is
so intelligent and competent as he moves
from one bit of business to another that
he makes pantomime, which is too often
mere dumb show, have a much greater
range of meaning.
There is one side of these films that
I object to, however; the overtone of
cynicism. Granting that sometimes the
fate of an empire rests upon the propor-
tions of a naughty woman's nose or hips,
I still feel that that is not the whole story.
Nine times out of ten the greatest vic-
tories are simply won by sweat, gameness,
suffering. Technically, Lubitsch touches
the deepest tones of his instrument ; emo-
tionally he scratches only the surface of
life.
James Cruze is a master of motion. His masterpiece, "The Covered
Wagon," presented the unique sight of a huge train of prairie-schooners
becoming the heroes of a motion picture while the characters emerged
only for moments from their roles of cogs in a great machine
Stroheim's Grim Shadows
""Those deeply moving experiences which
I demand of a great art that almost
leaves wounds and scars in the memory,
come in fragments of "Greed," Erich von
Stroheim's great picture. To see this is
like living thru the night of one of those
big storms on the Atlantic.
There were striking differences in
method from Lubitsch. First, there is
nearly as much shadow in Stroheim's work
as there is light in Lubitsch's. Instead
of trying for an effect of lightness, he
wants to be ponderous and tragic.
McTeague is an uncouth and simple
being of the lower classes with a tragic
life-story which Stroheim sought to rep-
resent, episode after episode. It was not
a picture for tenderfeet, for the film in
its unflinching realism goes down to the
very dregs of life.
In my memory the picture divides itself
into two parts : the action in the city up
to the murder and the flight of McTeague
to the desert. The early scenes were in-
fused with an atmosphere of drab horror
and piled up incitements to crime. Stro-
heim used "camera angles" and light to
get the most impressive lines and shadows
he could. Above all, he wanted to make
each set fairly drip with feeling. A master
of atmosphere, he composes each scene
with the idea of driving home an emo-
tional effect rather than a picture qf action.
He focuses his camera from many different
angles ; he creeps upon things and sur-
prises them; now he lingers over them
and seems to wonder about them.
Camera Angles
I dont know who first invented these
"camera angles." At any rate, Stroheim
uses them with telling effect. Finding that
you can get startling results by suddenly
devoting the whole spread of the screen
to a few small things, or even part of one
thing, they let it sweep about their material
like a huge, superhuman eye, now looking
at something from close by, now from
below, now from twenty stories above.
And these queer "angles," w:hen used with
artistry, helped to em-
phasize some things
above others, to fix, in
short, certain impres-
sions in your head. It
gives the camera an
amazing grip on you.
In the early scenes of
"Greed" there is a shot
of the wedding group
advancing up the nar-
row stairway of Mc-
Teague's house, seen
from the top of the
hallway. From the
point at which you see
them, they all look pe-
culiarly distorted, flat-
tened. There is some-
thing uncanny about this
effect, and it gives you
a nameless fear, which
is just one of the meods
Stroheim wants to
evoke.
It was these new
and terrible sensations
of deep shadows and
masses, of heavy tragic
movements that I got
from "Greed."
For cinema composi-
tions that aim at atmosphere, the early
scenes of "Greed" have not yet been ex-
celled by American work.
There is a group of films which seem
to represent a completely different tech-
nique and mood from the Lubitsch-Stroheim
variety. I mean the advocates of motion.
An Advocate of Motion
Qne of the classic examples of this type
was James Cruze's "The Covered
Wagon." It was a unique thing to see
a huge train of prairie-schooners become
the hero of a motion picture, while the
characters emerged only for moments from
their minor roles of cogs in a great ma-
chine. The drama of the covered wagons
from the formation of the train, thru its
trials and quarrels, to its final haven at
the sea coast was an amazing spectacle, as
miraculous as anything we may read in
Marco Polo.
It is pure movie stuff again at its best.
In no other form could you have had
such a sensation of space, of the infinite
sweep of desolation, which these winding
trains traversed. It was only because
Cruze really cared for those things that
he got so much of the magnificent surging
movements of this nomadic horde of cattle
and men. The journey of the covered
wagons is really the whole storv 01 this
film. To us it had also the added sig-
nificance of picturing the barbarous, pio-
neer side of America, which, recent as
it 'is, is already forgotten.
It is well that Cruze commemorated
brilliantly another colorful phase of Amer-
ican life: the rise of the movie industry
itself. "Hollywood" was really a much
better film than most people imagined. It
was a satire upon the life of the prepos-
terous world of Holywood that made us
realize just how topsyturvy and crazy
things were over there. The farcical in-
cidents ii. which the group of innocents
who set out to conquer the movie capital
are immersed increase in speed and ab-
surdity until it is all perfectly mad.
One of the best sequences was the dream
scene, in which the hero rows thru the
(Continued on page 83)
66
The Changeable Chaplin
only partly worth while if I ilid not see
iplin. I went to a telephone and called
up Samuel Goldwyn, and he endeavored
touch with the comedian He
called me hack and said that while he had
not been able to communicate with Chap-
lin he had ascertained that the screen
celebrity would not leave tor >e\cral days.
The following afternoon I received a
message from Mr.
saying that
he had made an ap-
pointment for me
with Chaplin in hi->
studio. I was elated,
and punctually I went
he fun - maker's
workshop, where 1
met Chaplin's man-
ager, Alfred Reeves
has been with
the comedian since
the niRhts Chaplin
played in "A Night in
an English Music
Hall " I made known
to Mr. Reeves the
reason for my pres-
ence, hut he api>eared
to be blissfully igno-
rant of the comedi-
an's whereabouts. He
did not say that
Charlie would not
come, but neither did
he appear to think-
that he would. He
was non - committal
and evidently he de-
cided to make my
• as interesting as
he could. He went
over the same de-
scription he had ob-
viously done for hosts of others in simi-
lar circumstances.
Mr. Reeves and I entered Chaplin's
combination office and dressing-room and
in a somewhat distracted way the manager
pointed to two pairs of very' large shoes.
"There are his boots, the ones he wears
for the screen," observed Mr. Reeves.
Hanging above the absurd shoes was
the little tail coat, the shapeless trousers,
and above them, the little derby. It was
all very interesting to look at these props,
but where was Chaplin ? He was almost
an hour late. Mr. Reeves still appeared
to be wondering why I should think that
he would come, and he turned the con-
versation to stage settings, as his eyes
wandered to several telegrams arranged
neatly en the comedian's desk.
I was leaning back in Chaplin's favorite
chair and Reeves was ascertaining the
business done by "The Gold Rush," at
Grauman's Egyptian Palace, when a pre-
possessing, active man. his hair well-
touched with grey, sprang up a few steps
and threw open the screen door. It was
Charlie. He had kept the appointment
after all. Telegrams did not interest him,
but he was pleased to hear that his latest
picture had sold out at the matinee. He
was dressed in a well-cut grey, -striped
suit and wore spotless white shoes, and
only when he smiled did he remind one
of the sympathetic character one has seen
so much on the screen.
He remained only three minutes in his
office, and then we left the building, in
front oi which was waiting his Rolls-Royce
runabout and his Japanese chauffeur. The
chauffeur jumped up in the back seat and
:c Peered the machine to the V
martre. which, when we entered,
almost empty Only the head waiter
(nixed the comedian. W
a table near a window, and MOO we were
talking of Thomas Hurke, of I'hil M.i>,
the black-and-white art London,
of the Karno comedians and of Charlie's
1 1 r > t with an astrakhan collar.
musical i>< ! Ins mini
laugh
Tfal man oi ux -
of much disappotntmei
■ r a l)<i-.tr>s giving a
nice to l>e ■bit that Mr Chaplin
will he present, but when you know that
the |*-ople have com-
Chaplin and he does not put in an ap-
i ranee, it mat ■
«|uite trying (off those
who are entertaining,
vcially when, at
times, they are well
aware that som.
the guests have
•Ken previous en-
gagements hoping to
meet and talk to the
comedian. And it not
infrequently hai
that Mr. Chap!
faithful Japanese
calls up and -
"Mister Chaplin
very' sorry' but so ill
cannot come to dinner
— he very' sorry.-'
i this results
in the host or the
hostess not feeling
the least comp;>
regarding Charlie's
indisposition.
Enjoys His Moods
Here is Chaplin with Jo Davidson, the famous sculptor, who has just
completed a clay portrait of the comedian's head
His Picture Ideas
"Vol' know I believe in tenderness in
stories," Chaplin said in the course of
the conversation. "It is a great help in pic-
tures, provided you can express it with
sincerity-. In 'The Gold Rush,' when I
am a millionaire, you will see that I cant
resist picking up a cigar butt. This re-
flects the mood of many persons who have
experienced a bitter struggle in early life.
"To this day I fight against extrava-
gance in make-up, as I constantly think
what it would have cost me in the old
music-hall days, when a shilling was a
shilling. Even now I economize on the
crepe hair I use for my mustaches, and
when I throw away some of this stuff I
recall that I would not have done so in
the early London days. This crepe hair
costs about a nickel a yard, but there you
are. On the other hand, I sometimes call
off work for the day and pay a hundred
men who haven't done a stroke, just be-
cause I am not in the mood to act or
direct."
It was nearly five o'clock when Chaplin
drove me to the Ambassador Hotel, and
he promised that I would soon see him
again.
My next sight of Chaplin was at a
dinner where the host served cocktails,
and. what is not unusual, Charlie was
late. All the other guests had arrived
long before he appeared with his wife.
He was cheerful, when he appeared, and
he looked very fit. He was offered a
cocktail, but refused it. asking the servant
whether he could have a glass of water.
That evening he imitated some of the
C^haplin impre
one as if he rather
enjoyed his moods.
He wants to be dif-
ferent and when it
strikes him suddenly
that he cant stand
going to a certain function nobody could
make him change his mind.
I had an engagement with him for
dinner on another occasion. The Japanese
servant called up and announced that Mr.
Chaplin was going to have Sir Henry
and Lady Wood with him and that we
were all going to see "The Gold Rush"
after dinner.
"I will be ready at seven o'clock." I
said.
"Very well," said the Japanese, timidly.
Ten minutes passed and the telephone
rang again.
"Mr. Chaplin say Sir Henry' — Lady
Wood not coming, but Mr. Chaplin meet you
at seven-thirty." breathed the Japaiu-
Five more minutes passed. The yellow
man was again on the telephone :
"Mr. Chaplin call for you at your hotel
at seven-thirty — but you know — Mister
Chaplin not always there on time — some-
times he little late."
To my surprise, instead of having.
wait that evening for Chaplin, he turned
up five minutes early. We went to dinner
at a restaurant opened by one of his
players, and there I had the experience of
listening to Raymond Griffith, who speaks
only in a husky whisper, and Charlie talk-
ing over picture plays and people. Later
we drove to the theater, and hardly a
soul (and that was in Hollywood ) knew
that the good-looking man next to me was
the chief player in the feature being
screened. He was the only man who did
not laugh that evening, his whole mind
being wrapt up in the music, which he
wanted to change.
I Continued on f04ic 83)
67
The Haunted Home of Movie Ghosts
popular acclaim, ghosts that bow in defeat
before the remorselessness of Age — ghosts
here and there that bow before the folly of
extravagance and riotous living.
As the shadows of the pepper - trees
flicker across the fence, it almost seems
that the notes from Wally Reid's saxo-
phone can be heard from one of the stages
. . . gay, happy, tragic Wally, grinding out
eight and nine pictures a year, continuing
work when he had to be carried on the
set, forcing a smile, making the executives
think it was only another irrepressible
gag.
In the distance seems to move the enig-
matic, courtly figure of William Desmond
Taylor, whose murder created one of the
unsolved mysteries in recent years . . . and
just beyond is a girl in golden curls that
he is directing; Mary Miles Minter, an-
other ghost, at the age of twenty-two. her
film career ended —
because of the
tragedy.
Just Memories
James Neill, the
character actor,
passes in the flesh.
As he looks on the
ruins, he murmurs
the verse quoted at
the beginning of
this story — "I feel
like one who walks
alone, some banquet
hall deserted "
Neill played in the
very first picture
made on this lot.
"What memories !
What memories I"
he said to me. "I
remember the early
days, when that old
barn at the corner
was the whole stu-
dio. I owned the
only automobile —
an old Buick. It
was the sole car
parked under the
pepper-trees of
Vine Street, where
now there are hun-
dreds. Jesse Lasky
walked to work,
and so did Cecil De
Mille, and Samuel
Goldwyn. Dust in
Farnum, the star,
owned a car in New York, but he hadn't
brought it out with him. The studio, for
its location trips, had three old Pope-
Hart fords. Later Mr. Lasky purchased a
small foreign car."
Dustin Farnum 1 Why, isn't that his
name on the Orpheum 24-sheet across the
street, advertising him in "The Littlest
Rebel" ? One rubs one's eyes.
Dustin Farnum, the man who missed an
opportunity to make a million on this very
spot ! He and Lasky and De Mille and
Goldwyn were the original four partners in
the concern. The other three put in $5,000
apiece. Farnum was to get his quarter in-
terest in stock in return for acting in the
first picture, "The Squaw Man." At the
last minute he decided he wanted the $5,000
in cash, and gave back the stock, and the
other three took it reluctantly because they
had a hard time finding the $5,000. Today,
if Farnum had retained the stock, it would
be worth more than $1,000,000, not to speak
of the many dividends. But he took the
(Continued from page 33)
$5,000 . . . and is still playing on the
Orpheum, so the billboard says.
Onward Stalk the Shadows
In the tide of traffic that swirls by, one
sees another ghost, a chastened, some-
what shrunken ghost with a serious face,
who passes in an unobtrusive, inexpensive
car. He casts a pondering glance at the
partially demolished studio. Whatever may
be his thoughts, they are well hidden be-
hind the. immobile mask of his counte-
nance. It is Fatty Arbuckle, and the door
which he is now hurrying past is the same
to which he used to drive with a grand
flourish in a red-and-gold custom-built auto-
mobile. Today he is on his -way to the Metro-
Goldwyn-Mayer lot, where he is directing
under the name of William Goodrich.
Ghosts of dead heroes and heroines, of
men and women who laughed and loved in
Here is a bird's-eye view of the Lasky Studio in Hollywood which is being
dismantled. Famous Players are erecting a new studio, the plans calling for
enough floor space to take care of eleven enormous stages
the celluloid world of make-believe, haunt
the spot. Most of them worked there, all
of them knew it as a landmark : Edward S.
Abeles, Hjfrry Woodruff, Bobby Harron,
Alan Holubar, the director, all dead.
Glorious Barbara La Marr, who died at
the pinnacle of fame ; Harold Lockwood,
victim of the "flu" epidemic, and brave
Larry Paton, who paid the price in France.
Arthur Johnson and John Bunny passed
away before this studio was well known,
but Bunny's leading lady, Flora Finch,
recently . appeared in a small role in
Gloria Swanson's latest Paramount picture.
Charles Ogle, the charactci actor, is re-
tired and living at Long Beach, California.
He has no telephone — because the casting
directors insist on trying to lure him back
to the screen.
Fill the Cup and Toast Them
Oow the ghost names haunt this famous
world of filmdom ! Like Napoleon's
conquering army, the ranks are always full,
for as soon as one hero falls, another steps
in to fill the gap!
Florence Turner stopped a moment on
the avenue to look at the scene of destruc-
tion. Once a shining light of movie star-
dom, she recently returned to the screen
in mother roles. Moths in the flame. . . .
Ruth Roland, the heroine of thrillers,
dressed in a chic business suit, slows down
in her car to pay passing tribute. She is
on her way to close a big business deal,
for Ruth is now a real-estate operator of
note in Los Angeles. Her name is posted
on countless lots in the city.
Bryant Washburn enters the gates — on
his way to hold a short conference with
Raymond Griffith. Five years ago he was
a big star on the lot. Raymond Griffith
was then an unknown. Today Griffith is
a big star — and Washburn recently re-
turned to the screen, playing a second lead
in support of Grif-
fith.
"Life's all right
— as long as you
have a sense of hu-
mor," he smiled in
passing.
Time Was
When
HThe faint ghostly
trilling of so-
prano notes recalls
Geraldine Farrar,
as famous in pic-
tures as she was on
the operatic stage.
She is now in re-
tirement so far as
both arts go, and
is living at Ridge-
field, New Jersey.
A shadow from
the land of the
Rising Sun is Ses-
sue Hayakawa, who
recently returned to
this country from
France, where he
has been making
pictures. Once he
was famous in
Hollywood. Today
there is a younger
generation that
scarcely knows
him. He is now
trying his luck on
the stage.
Dapper Charlie
Chaplin rides by on his -way to his own
lot. He casts a passing glance at Pola
Negri's bungalow. . . .
A doorway of the star dressing-room
building that is being torn down reveals
the name of Kathlyn Williams . . . she has
retired from the screen, and is living
abroad with her husband, Charles Eyton.
Another doorway reveals the name of
Betty Compson, now Mrs. James Cruze.
She is now featured in all-star casts . . .
but her friends are predicting she will come
back — to stardom.
In the Days of the Nickelodeon
|wj emories . . . memories . . . Carlyle
Blackwell is in vaudeville in England.
Fanny Ward is retired and living in Paris,
and so is Pearl White. Maurice Costello
is on the stage in this country, but his two
beautiful daughters, Dolores and Helcne,
are "carrying on" the Costello name in the
films with tremendous success. James
(Continued on page 78)
68
Your Powder wont "Sh
when you use a scientifically blended shade of
Pompeian Beauty Powder to match your skin
V
OW
By. MADAME JEANNETTE
Famnu< lOimttictait. retained b) Tht Pompeian
l^iboratonti at a consultant to gut authentic adi tie
regarding tht cart of the skin and tht proper use
of beauty preparation*.
C7T SOFT, delicate
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but a shade that matches
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All smart women
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White Skin : This skin is unusual, but if you
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S P
E R
Shade Chart for selecting
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Medium Skin: The average American skin
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Tear off, sign, and tend
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Name
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Shade of powder wanted.
This coupon \nid after Ntrv. i, 1926
69
It Is To Laugh
called Mr. Pollock's attention to it and he
had the uniform changed. This mistake,
I am informed, was entirely due to the
costumer. In that delightful musical com-
edy of German life, "The Student Prince,"
the military uniforms and court costumes
in it are purely fanciful ana not in the
least accurate. They would have been just
as brilliant and much more effective had
they been correct.
The most common error seen on both the
stage and the screen in connection with
military uniforms, is
that of side arms
worn with foreign
military dress. It
rarely seems to oc-
cur to a producer
that each army has
regulations of its
own regarding the
form of the sword
and the manner in
which it should be
worn, so they pro-
vide U. S. sabres
for all types of for-
eign officers, and the
actors wear them
hooked up in the
manner prescribed
for our officers, re-
gardless of the reg-
ulations of the army
of which they are
supposed to be mem-
bers. Once in a while
a striking exception
to this rule is seen.
The thing which I
enjoyed most in "The
Phantom of the
Opera" was watch-
ing the unconscious
ease and correct man-
ner in which the actor who played the part
of the lover wore his sword. I wish that
I could remember his name so that I could
mention it here. In one of the "Zenda"
pictures there was also a group of officers
who wore their swords in the Continental
manner, hanging from a single sling, as if
they had so worn them all their lives.
Military Mistakes
Just because our army officers wear their
sword belt outside the coat is no reason
why producers should consider that officers
in all armies do so. As a matter of fact,
with many types of uniform, the belt is
almost always worn under the coat, and
our officers are about the only ones who
hook up the sabre when dismounted. With
all service uniforms, the belt is, of course,
worn over the coat, but the sword in many
armies, when worn with it, is passed
thru a frog.
Foreign military equipment, other than
side arms, is another thing which is often
incorrectly worn. Of course, no actor
should be expected to know how to wear
such articles as arynillettes, sabre-taschcs,
despatch pauches and sashes, but someone
connected with the production should
know and see that they are worn
properly.
Foreign uniforms, other than those worn
in the World War, are rarely correct as
shown on the stage or the screen. I have
seen "Carmen" several times, both on the
stage and in pictures, and I have never yet
seen it presented with real Spanish uniforms
showing the proper insignia of rank. The
usual method of marking the rank of the
corporal who is later reduced to a private,
is to have him wear a pair of two-bar
{Continued -from page 41)
chevrons in the first act and leave them off
in the second. Now in the Spanish army,
rank for both officers and non-commis.sioned
officers is indicated by means of bands of
gold or silver braid, or scarlet cloth, en-
circling the cuff, a corporal having three
stripes of scarlet cloth.
From about 1750 until 1812, it was the
custom in most armies, including our own,
for officers to wear one or two epaulets
according to rank ; general and field officers
wearing one on each shoulder ; captains, one
These two officers of the guard imagine
they are settling their feud with rolling-
pins instead of swords. Such combat is
not of a very high order in the films
on the right shoulder ; and lieutenants, one
on the left shoulder. In all of the Colonial
and Revolutionary period plays and pic-
tures which I have seen, I can only re-
call one instance in which all officers,
regardless of their rank, did not wear two
epaulets.
The further back the supposed period of
the picture, the greater seems to be the
percentage of error. "When Knighthood
Was in Flower," the scenes of which were
laid in the time of Henry VIII, was well
costumed, while "Robin Hood," a picture
of the time of Richard the Lionhearted,
Mr. Blakeslee, the author of "It
Is To Laugh," is a Consulting Cos-
tume Expert. He is an authority
on detail and nothing escapes his
vision. Where the rest of us may
discover a few irrelevant points, he
discovers many. There is scarcely
a picture or play which does not
need "doctoring" to carry out a
similitude with realities. But the
producers continue to err — and this
calls for him and the rest of us to
ask — "What's wrong with this pic-
ture?"
Mr. Blakeslee is one of many
brilliant writers who have been en-
gaged to write feature articles for
the Classic. He knows his sub-
ject thoroly — and our readers may
look forward to future numbers
which will carry his entertaining
ideas.
was full of technical errors. One of the
most noticeable of these was the wearing
of quivers for arrows suspended from the
shoulder, instead of from the hip. Imagine
the difficulty of trying to draw quickly a
cloth yard shaft from a case hanging down
the back !
Sword play and knife fighting as seen
in motion pictures is not usually of a very
high order, but sometimes really remark-
able work is done along these lines. The
duel in "Scaramouche" was an excellent
example of small
sword play, while the
fight on horseback in
"Under the Red
Robe" was certainly
a thriller. The best
knife fight which I
ever saw on the
screen was in "Or-
phans of the Storm."
No real knife fighter
ever places his thumb
on the pommel and
strikes downward
from the shoulder;
he puts it along the
flat of the blade and
thrusts straight out
from the hip. The
fight in "Orphans of
the Storm" was done
by the latter method
and was most real-
istic.
Oh, For the Styles
of Yesterday
Pominc down to
modern days and
civil dress, I wonder
why it is that in
most pictures all
clothing since the
Civil War is the same as that of today.
When I was a boy, the hoopskirt had
gone out, but the ladies wore in its place
the bustle, and their dresses had long trail-
ing pleated skirts. Men of standing in the
community wore high hats, frock coats and
striped trousers, and often carried gold-
headed canes. As a young man, I remem-
ber wearing a short tan overcoat reaching
scarcely below the hips, a stiff-bosomed
white shirt, and a straight and very high
collar. Trousers at that time were rather
large and without a crease and the soft
hat of today was practically unknown in
the East, the derby being the almost uni-
versal head covering for the male sex,
except in formal dress when the silk hat.
or opera hat, was worn. The ladies at that
time favored gowns with large puff sleeves,
and wore wide-brimmed hats.
In the 90's, when the bicycle rage hit
the country, the men took to knickers and
the ladies to ankle-length skirts, shirt-
waists and straw sailor hats. When the
bicycle craze had run its course, the men
resumed their long trousers and knickers
were not seen again until the popularity of
golf brought them once more into use.
About 1890, the soft shirt with turn-back
cuffs replaced the one with the stiff bosom
and cuffs, as an article of wearing apparel
for the male sex ; and early in the twen-
tieth century the ladies began to tighten
and shorten their skirts and reduce the
size of their hats until eventually the ab-
breviated skirt and small head covering of
the present time was evolved.
Very few of these changes in dress,
which have all occurred within the past
fifty years, are shown in motion pic-
tures.
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71
Impressions of Hollywood
(Continued from page 45)
sort of church
which was former-
ly occupied by the
Theosophists, and
it is very pictur-
esque and quaint.
Gardner is quite
youthful and pre-
possessing— partic-
ularly in the cos-
tume and make-up
in which he en-
tered, just having
come from a re-
hearsal of a scene
in "The Amateur
Gentleman," in
which he is giving
Dick Barthelmess
a battle for the
honors. He proud-
ly showed me some
of his old books
and rare prints,
which I enjoyed
quite as much as
viands and cigars.
Drinking Tea
With Jack
Dempsey
Pstelle Taylor
^* invited me over
recently to meet her
husband and you
can bet I went, be-
cause I had not yet
met Jack Dempsey,
who is perhaps the
most popular man
on this little ant-
hill of ours that we call the world. They
sent their Rolls-Royce to take me there,
and when we drew up in front of a pretty
bungalow in a fine neighborhood I did not
realize that this was the house that Jack
built. It looked nothing like Jack, outside
or in, but it did look like Estelle Taylor.
Everything looked nice and neat and tidy,
and there were no signs of boxing-gloves
or sports. Estelle and a few other ladies
were there, but no Jack — he was expected
to return from his training camp at any
minute.
While we were talking, a green parrot
walked in and joined in the conversation.
He belonged to Estelle and soon proved
that he did. Then a maid wheeled in a
tea-wagon full of sandwiches, cakes, tea
and other delicacies, and I was informed
by one of the ladies that the tea-set (a
very choice one) was a Christmas present
from Jack to Estelle. And I thought to
myself, Jack has mighty good taste. I
partook of the delicacies slowly, because
I was impatient to prolong things and see
Jack.
A Genial Host
T could not imagine Jack sitting in that
dainty drawing-room drinking tea 1 I
simply couldn't get myself to believe that
he was coming. But shortly we heard a
car outside, then a key turning in the front
door, and then a voice saying to the maid,
"It's only me, the iceman." It was not
a heavy, bass voice, as I had expected, but
quite a boyish one. And then the young
giant walked in. He was dressed quite
like any other ordinary business man, not
loudly, nor coarsely, but neatly. He kissed
Estelle affectionately, smilingly shook hands
with the other ladies and then grasped my
hand. He did not look so big as I ex-
72
The latest craze to hit the feminine portion of the country is the pastime of
making hooked rugs. Here are Marian Nixon and her sister, Linda, at the
new art — making rugs for Marian's new home
pected. He seemed only three or four
inches taller than myself and not quite so
plump. His figure looked well formed and
not overmuscular nor ungainly. He is not
handsome but decidedly likable. He has
personality and charm, and he talks quite
like anybody else, using good language.
Then he sat down by my side, took up a
dainty teacup and saucer in his big hand
and drank. Then he took an olive and two
or three immature sandwiches, a couple of
candies and a fancy cake or two, and be-
haved himself like a Beau Brutnmel. Not
a word about sports and fighting. We
talked about pictures some and he said that
he liked to see them but believed he wasn't
much of an actor. "I was in a picture at
Universal and I was supposed to feel very
badly about something — in fact, I had to
cry, but they couldn't get me to do it, try
as I would. They made me look at bright
lights, put onions in my eyes, vaseline, and
everything else, but I couldn't make myself
cry."
Touring the Dempsey Manse
"VY/ell, I can make you cry, Jack," said I.
" "You go down and see 'Stella Dallas.'
and I'll bet $100 your eyes will moisten."
Estelle doubted it, and so she took the bet,
and we put up the money. We're all going
together, and I'm hoping to get that $200
pot!
After "tea" I was shown thru the house
at my request. You just ought to see
Jack's bedroom ! It is chuck-full of pink
silk pillows, fancy dolls, perfumes, dainty
laces, and so on, and the bed is ivory-
colored with fluffy lace coverings. Of
course, this is really Estelle's room, but I
know that he bought a lot of the stuff him-
self, and that he likes it, and that he is
just as fond of perfumes as she is.
But in another
room there is an
athletic device that
looks quite mascu-
line, and a big
clothes closet con-
taining at least
twenty suits of
men's clothes hang-
ing on a pole.
Then they showed
me a lot of small
pet dogs — some
beauties, too — and I
wondered if these
were Jack's. No,
they weren't — they
were Estelle's.
Jack's are huge
ones and he has
them out in the
country.
Jack is running
a hotel to keep him
busy, and he likes
it. He is very
much like any
other man — except
he is the greatest
fighter on earth.
That Semon Chap
I ran across my
old friend, Larry
Semon, the other
day, and he took
me over to the
F. B. O. studio,
where he is doing
a five-reel comedy
called "Spuds."
Years ago I thought that Larry would by
now be giving Lloyd, Chaplin and Keaton
a hard run for first place, but he seemed to
have gotten a bad break in the last few
years and did not progress as he should.
I am, however, still betting on him and
hope yet to see him quite at the top among
the first comedians of the screen. He
showed me the first reel of "Spuds," and it
is as good as anything I have seen by any
of the comedians. If the other four reels
are as good as the first, he has a sure win-
ner, but — alas ! — he says that they wont
give him enough money to finish the pic-
ture properly. And that is the way things
go. His backers must be blind 1
In one of the scenes in "Spuds" is a se-
quence where Larry is hiding behind a
couch near a steam-pipe, when a little
monkey comes in and turns on the steam.
This little monkey is very clever and gets
twenty-five dollars a day — at least, his fat
Italian master gets it. I watched them
for two hours training this monkey to
sneak in and unscrew the handle of the
radiator, but of course they did not use the
steam during these rehearsals because it
would frighten the monkey. His master
would make the motions of turning the
handle, the monkey would look at him and
imitate the movement, all the time cheeping
his willingness to do the best he could. He
was fastened to the end of a long, thin
piece of black silken cord to prevent his
getting away, because, I am told, in a pre-
vious scene he escaped and for hours had
a jolly time aloft among the rafters, finally
getting out of the building and quite losing
himself several blocks away, much to the
distress of his master — but Larry himself
rescued him in the back yard of a bunga-
low.
(Continued on page 85)
John (filbert
as "Rodolphe"
j <>n-x GILBERT
LA BOHEME.
in
Brilliant Supporting Cast Includes
Renec Adorec and Karl Dane of "The
Big Parade", Roy D'Arcy of "The Merry
Widow", Frank Currier of "Ben Hur",
as well as George Hassell and Edward
Everett Horton.
Screen story by Fred De Gresac based
on Henri Murger's "Life in the Latin
Quarter."
KING VIDOR'S production of
STUDIO days in Paris
GOLDEN days of love, laughter and tears ....
AND through it all
A great undying love.
COMING to 'your theatre
AFTER a record breaking $2.00 run
AT the Embassy Theatre
BROADWAY'S most exclusive playhouse
" More stars than there are in Heaven"
73
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The Disillusioned Director
{Continued from page 30)
Seely
Mabel Ballin is one of the real artistes of
the screen. She is a mistress of make-up as
well as characterization — and never fails to
reveal sympathy and sincerity in her per-
formances
I asked him
why he gave up
the most lucra-
tive business of
directing pic-
tures.
"I haven't
really given up
my film work,"
he said. "To
tell the truth, I
have been ex-
perimenting
with a fairy
story at the
Paramount Stu-
dio. Douglas
Fairbanks want-
ed me to make
'The Black Pi-
rate' with him,
but I was tied
up with the
Paramount peo-
ple and couldn't.
I'm sorry, for
the setting of
that story had
tremendous
color possibili-
ties.
"However, I
intend to make
one color picture
before I give up
my screen work
entirely. My
hobby is color. I have devoted my life to
the study of color and I have a thousand
theories about color values on the screen
and of course I want to try out some of
these theories."
But the note of enthusiasm that was
present when he mentioned his books and
his murals was absent when he discussed
his work for the screen.
A Thankless Task
"1V/TAKING pictures, especially if you are
trying to make beautiful pictures, is
a thankless task," he volunteered.
"You see before you a very disillusioned
person ! I love Hollywood and have made
firm friendships among the picture people —
but as a whole, and this is especially true of
the producers, I find the people of the film
world to be a fickle lot.
"Who was it that said there was no such
thing as true friendship in Hollywood ?
The newest big name arrives here with a
fanfare of trumpets, there is feasting, the
Yes-Yes Chorus does its darnedest, and
the film colony literally hangs on the words
of the new arrival. But after the novelty
and excitement has died down — the biy
name becomes a worn toy, one whose secret
mechanism has been discovered — then it is
time for another big name.
"Such a state of affairs is very discour-
aging to the real artist, for art thrives best
in an atmosphere of appreciation.
"Art and talent are not novelties — they
are things which grow richer and more
prolific with time. There is little leisure
in Hollywood—
that may be
the answer to
it all ! But look
what they have
done to Pola
Negri — to Lu
bitsch — let us
hope that Jan
nings does not
come to Ameri-
ca to make pic-
tures !"
We gossiped
about the Ger-
man pictures
and agreed that
American film
production will
have to change
radically unless
we want to be
beaten in the
end by the very
excellence of
the German out
put.
Yes, There Is
Subtle Drama
V4r. Ballin is
discouraged
when he thinks
of the future of
the American
films. I have
been discour-
aged for a long, long while, especially after
viewing 'The Last Laugh' and seeing the
lack of appreciation accorded the Hugo
Ballins and the Maurice Tourneurs of the
industry.
"They tell me," Mr. Ballin went on. with
a sudden sly humor in his smile, "that I
have no feeling for drama — that I 'try' to
be artistic. I was a recognized artist be-
fore I attempted directing pictures — as for
drama — I confess the thriller bores me!
But there is such a thing as subtle drama,
the kind we find in, say, the Lubitsch
pictures."
I asked him for a photograph to go with
this article.
"Why do you want to print the picture
of a fat, middle-aged gentleman in spec-
tacles ?" he protested, and gave me two of
Mabel Ballin instead.
And when I remarked upon the charm
of his home and his happy domestic life —
he explained very simply, "Mrs. Ballin and
I are not anxious to be famous — we wan:
always to do the things we enjoy doing.
Of course, we like appreciation — who
doesn't? But we love most of all to work
together — she paints, you know, and paints
well."
Mutual interests, no wild bid for fame —
that is the secret of one of the most con-
tented menages in the film colony.
But just the same, Hugo Ballin is a dis-
illusioned gentleman — disillusioned when it
comes to things cinematic — but otherwise a
happy and contented gentleman.
He believes in himsef and his art.
The Most Quoted Man (Favorably and Unfavorably)
in America— HENRY L. MENCKEN— Talks for the
First Time on the Movies.
This Is But One of the Many Brilliant Articles You
Will Want to Read in the September Classic.
74
.«
"Came One Spring Day; and Then — '
ued f
hadn't tl
bottle o i ' .hi. uli. m ale in a taxi* ah
gone "in of tl ■' welcome me and
i h mi- .mil wire even nl> inn "" that
.mi it ni axiom, "the vvaj to heai t
is thin Ins stomach." The) w<
linn h. I onse(|iientl) . I evoh
which started m
ment to see if I rcall) could, and ended
b) being clasped to m) bosom with .1 shrill
wakening mothci love. In other
words, I h rote .1 movie, and what
ible, I liked it aftei I had w 1 ittcn it.
Ami this, as brief!) as possible, is the
psis that I read to Mi 1 call and to
Mi Turner, the head of the scenario de
partmenl ol Controversial Pictures, (who
had sent out fot the Spikenard and
Kirst we had lunch, and then we
I Mi r timer's private office, 1
full) stuffing all the cracks with cotton
and chloroforming the subordinates
in the outside office. Here goes the synop-
nitl be it understood that all motion
picture rights to it are held by me ami
me alone whatever that means I
The Plot Thickens
A handsome youth, bored with his sis-
** iti's garden party, finds the photograph
of a beautiful girl in the living-room of
his sister's house. He falls in love with
the photograph. His sister dismisses his
inquiries as to who the original may be by
md that she left a
few days ago for a five-year visit to the
Philippines. That being that, the youth is
petrified a few days later, while taking a
short cut thru the Grand Central Station,
. the object of his adoration abou
set forth on her long voyage. Dates have
meant much to his sister, anyway.
Lured b) the girl's beauty, he follows her
down to her train and when it starts off
for the Coast, he is on board. He buys a
tieket as far as a lone twenty-dollar bill
will take him, and establishes himself in
the smoking compartment to plan a means
of meeting her. Unfortunately, before he
can meet her. she meets an old college
deadly rival of his and meeting her be-
comes even more impossible. Desperation
over his lack of funds causes the youth
to throw the porter off the car as the
train reaches the end of his twenty dollars'
worth, whereupon, with the aid of a can of
friendl) shoeblacking and the porter's hat
and coat, he becomes the porter. Numer-
ous highly risible scenes ensue which end
by the youth's disguise being discovered
and his being promptly thrown off the
train. Fortunately he stumbles onto a
truck that is being hijacked and drives off
- '■'•'• ', heating the train to its destination.
His rival again frustrates him antl takes
the girl to her ship followed by the youth
in hot pursuit. Many more extremely
risible scenes ensue on board the departing
ship which end with the youth throwing the
rival into the bay b) the slack of bis trou-
sers and the boat sailing for the Philip-
pines without the girl, who at last is safe
on the pier, clasped in the youth's arms.
It's a pretty thing, isn't it ?
Came the Conference
Prktty or not, such it was that I read to
Mr. Turner and Mr. Teal while the
cuckoos sang to the chloroformed sub-
ordinates and the cigaret smoke swirled
about the cotton-wool padding. Mr. Tur-
ner was the first to break the silence that
greeted the ending of my effort.
"Very good," said Mr. Turner, "very
good indeed."
tout
" I he
ill, "tho ■
■
nDii 1 is n< wed Mi
'and the n what thin,
the idea is splendid. I mean, I 1
lik.
.• first," 1 s.ud, t thi . "1
thought 1 would have this
Isf silt
Reno
"Now you' vi med Mr.
Te.ill, a tU ni' -mat al h ■
.U the garden pa
Ami the)
all get the same tram Ami then, b) some
means or other, you show tin- fellow do-
ing something or other which makes all
them decide they wont get a divorce
■ all. That," he explained kindh to
me, "is what we call human inn ■
"Wouldn't it be funnier, Phil," said Mr.
Turner to Mr. 1 \ all. "if somehow this
chap got to throwing all the officials off
the train, first the other porters and then
the conductor ami finally the engineer until
he was practical!) running the train bv him-
self, first being all tie porters, and then
the conductor collecting tickets and then
iigineer "
laimed Mr. Teall. "Now
you certainly have it." he said, waving a
hand to me. "And you want to get in
some more for the girl and for the other
fellow to do. They're sort of in the back-
ground. You have a great opportunity for
chromatic nuance.''
"Oh, yes," I replied dully, wondering if
there was any chloroform left.
Just a Figurehead
"Tr's a fine idea," Mr. Turner insisted,
with no jot of his enthusiasm gone.
"It's the best we've had in months. But
you haven't quite got the angle. All you
need to do is fix it up along the lines we
suggested and you'll have something. You
go back and work on it and put in some
new ideas — by the way you might make
the fellow the president of the railroad,
or perhaps it would be better to make the
girl's father the president of the railroad
— and put in a scene somewhere where he
saves somebody's life, or stops the train
from getting wrecked — they like that, and
then bring it back to us."
"And then what?" I said. At least it
sounded vaguely like my voice.
"Why then," said Turner triumphantly,
"I'll bet you it gets over !"
"Of course it will." crowed Teall. "it's
a great idea. All it needs is a little fixing
up — nothing at all. Good-bye," he said,
opening the door for me. "don't forget
your pathos and your unity and your
coherence ami your characterization and
your sex appeal. . . ."
"Good-bye," said Turner, "be sure to re-
member your chronological march of
events and play up your climacteric values
to the full. . . ."
I dont remember saving anything.
Rut of course there had to be a catch
in it. I knew you couldn't just up and
write for the movies the way you can for
the London Mercury, The Atlantic
Monthly or the "Encyclopaedia Britannica."
And Mr. Teall and Mr. Turner really have
your interest at heart and they're very
anxious to get ideas from you — tho I dont
know why. God knows they seem to have
enough of their own.
Just the same, as soon as I get another
idea. I'm going over to see them again.
The braised beef tongue a I'Anglaisc was
really awfully good.
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The Haunted Home of Movie Ghosts
(Continued from page 68)
Cruze, once famous as a leading man, and
especially famous in "The Million-Dollar
Mystery," in which his ex-wife, Marguerite
Simw, played opposite him, is now one of
the big directors, and is filming "Old Iron-
sides." Miss Snow is in vaudeville. Francis
X. Bushman is still in pictures, having last
appeared in "Ben-Hur." J. Warren Ker-
rigan occasionally returns to the screen,
as in "The Covered Wagon." He is living
in semi-retirement in Hollywood.
King Baggott, Francis Ford, Robert Z.
Leonard and Alan Hale are all directors,
and Marshall Neilan, once tremendously
popular as an actor, is now one of the
biggest of directors.
Juanita Hansen, once a Sennett bathing
beauty and later a dramatic player, is in
retirement.
Betty Blythe is making pictures abroad,
tho she is scarcely heard of any more.
Mae Murray, another old-timer, is still
going strong. Beverly Bayne is only seen
at intervals on the screen.
Once Upon a Time
lois Weber, once a star, and former wife
of Phillips Smalley, who played op-
posite her in most pictures, is the only
woman director in the business, . and is
making a picture for Universal. Smalley
is on the stage.
Irving Cummings, an old-time hero, is
directing. Mabel Normand, after a time
out of pictures during which she was on
the stage, has just returned and signed
a half-million-dollar contract with Hal
Roach. Another old-time actor is now the
king of comedy producers — Mack Sennett.
Theda Bara, once the vamp of vamps, is
now trying to come back as a comedienne.
Mabel Van Buren, the first leading lady
at the studio, has retired altogether from
the screen. So have Edith Storey, Pauline
Bush, Patty Darwell, Grace Cunard, Bessie
Barriscale, Anita King, Marie Doro and
Edna Goodrich. Marguerite Clark is mar-
ried to a very wealthy New Orleans busi-
ness man, and is no longer in pictures.
Mae Marsh recently made a picture in
England, but is now practically retired
and living at Flintridge, California. She
is the wife of Louis Lee Arms, well-known
newspaper man, and has two charming
children.
The Fast Thinning Line
A lice Joyce, once known as the "Kalem
^^ Girl," continues her old-time popu-
larity, and recently appeared in "Manne-
quin" and "Beau Geste." Blanche Sweet,
Marshall Neilan's wife, is as popular as
ever, and is now appearing in "Diplomacy,"
which her husband is directing.
Valeska Surratt has retired and is living
in New York.
Constance Binney left the atmosphere
of the Kleigs some time ago in order to
marry a Boston banker.
Henry B. Walthall, famed as the "little
colonel" in "The Birth of a Nation," after
being out of pictures for some time, re-
cently staged a comeback, as did Katherine
McDonald. Marguerita Fisher is married
and is playing mother roles and second
leads.
But the passing flicker of film fame,
like the verdict between the gladiators and
the lions in the old Roman arena, is not
always unkind.
Mary Pickford is still at the top of
picturedom, and so are Doug Fairbanks
and Charlie Chaplin. Owen Moore, Matt
Moore and Tom Moore are still high in
popularity. Thomas Meighan, another old-
timer, so far as picture history goes, is
still at the top of the heap, and Gloria
Swanson is a star of stars.
Robert Edeson, Hobart Bosworth, James
Neill, William S. Hart, Shirley Mason,
Viola Dana, Noah Beery, Wallace Beery,
Dorothy and Lillian Gish, are all still re-
ceiving the rewards of popular favor. Wal-
lace Beery, after many ups and downs,
is firmly established as one of the greatest
of them all, vying for honors as a char-
acter actor only with a comparative new-
comer in pictures — Ernest Torrence.
Raymond Hatton is still keeping the
even tenor of his way before the cameras.
Marjorie Daw is still prospering before
the Kleigs.
Some of them have passed clear out of
the picture — into new realms. For instance,
"Broncho Billy" Anderson is now running
a string of race-horses at Tia Juana. And
"Texas" Guinan, once famed as a picture
star, is a witty ad lib. hostess at a New
York night club. Elliott Dexter is on the
stage, and so is Robert Warwick. Vivian
Martin is in musical comedy.
Dear old Theodore Roberts, the "grand
old man" of pictures, is gradually regaining
his health after a long siege of illness, and
has just appeared in his first picture in
two years — "The Cat's Pajamas." He is
now making a vaudeville tour. His big
house on the hill, at the head of Vine
Street, looks sadly down on the wrecked
studio, where he came as one of the first
actors, and where his portable garage,
which he used as a dressing-room, was
moved all over the lot as expansion began
to take place.
Like Ships That Pass in the Night
("■ hosts . . . ghosts that seem to tread
softly in the gathering darkness, ghosts
that will soon be homeless, wandering sadly
thru a new maze of buildings that will
spring up on this site, store buildings, cold,
prosy, unromantic ; buildings that will not
bask gently under the pepper-trees, build-
ings that will not hide the glitter and
pageantry of filmdom ; ghosts that will turn
over a dead leaf and poke into an odd
corner in hope of finding a faded remnant
of the studio glory that was. Ghosts that
would not feel easy, ghosts who might
even be unknown, should they haunt the
bright modern buildings of the new studio
where the army of film great, ever re-
cruited anew, marches on and on, down the
pathways of celluloid fame.
The Celluloid Critic
(Continued from page 51)
film outweighs the serious. There is where
you must look to be entertained. And
there are enough mirthful scenes to keep
you laughing most of the way. One of
them shows Chester Conklin, who is lugged
out of a Detroit sausage factory to become
the Prince of Spezonia. And Chester
doesn't forget a single trick from his as-
sortment. He is particularly amusing dur-
ing the royal parade, when he runs to
cover as the bombs begin to fly. Dix is
the customary dashing American who
palms himself off on the high dignitaries
(Continued on page 82)
It's the Personality i'h.n
Counts
A. Ill
son, Richard Dis, Kenee Vdoree, Colleen
re, lithe I '.i' ral othei
promiiu nl sci eeu cclcbi ities will immc
Ij tlisiovii lli.it th ' |mi!
in one featui i •■■ anotli fi om the usual
standards i'i perfection .is set l>> the studio
\\ lull- each and evei ) one o( them has
ahIi outstanding success on the silvei
sheet, am young playet having the
, .| di i » 1 1 ive, would
have .t difficult time lauding .1 contract in
I Hollywood studio il the decision « K
pended upon one of these gentlemen who
like to rely upon rules and regulations.
Summing up, what i!«> we find
the greatest and most popular players upon
the screen, from (iloria Swanson,
t iilbei t. Douglas ' lirh inks, Ronald
njan, Lillian (iish, \'orma Shearer, Ru
dolph Valentino, Norma Talmadgc, 1
Rich and Thomas Meighan down t.
al run of film stars, arc .ill bn il
r more of the laws which certain stu-
seek to use in judging new
n talent.
The reason foi this phenomenon is ap
parent to all except the "experts."
The player who appears to have a 1
Feet screen face and other qualifications
that approach perfection, according to the
"experts," very often makes rapid progress
upon the screen, but as a rule their prog-
ress is of short duration. This is due to
the fact that because of their asserted pei
fection as screen material, they are given
every opportunity for advancement at the
In the long run they usually fail.
because while they may appear technically
ect, they lack that something which
might be called "screen personality," which,
all, is the only thing that really
counts.
Personality Counts
(~}s the other hand, players who have the
potentialities for .ureat favorites and
I artists are usually very slow in yet
ting to the top. Once again the blami
he laid at the door of our motion-picture
wiseacres who fail to note the possibilities
of such players because they are looking
only for exterior physical qualifications in-
stead of the divine spark which makes the
outstanding and lasting screen favorite.
Such players usually meet with great
opposition and suffer man}- discoui
ments in their climb upward in the silent
drama. They are rebuffed and rejected at
almost every turn by men who are merely
iting a lot of chatter they have heard,
after the fashion of parrots.
\fter watching tin- successful stats and
Struggling young players and making pre
for over ten 3
— predictions which have been fulfilled al-
most without a solitary exception — I defy
any "expert" to forecast with a degree of
certainty the future of any young player
by means of physical qualifications or
standards of any kind.
Judging from my own experiences, which
have netted the writer a batting averagi
almost one thousand per cent, in discover-
ing successful screen talent, there is only
one method to use.
That is. watch for magnetic vibrations
or what might he termed "screen pel
ality."
If the screen player has this quality, put
your money on him and forget everything
else.
Joining tht Hires in n irtut trunk runt hiu.<(n t\ew '1 hicaio
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The magnitude of our present
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have foreseen the American city
of skyscrapers with more tele-
phones in one building than are
to be found in many a foreign
country.
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served by wires strung in the air.
We now have telephone cables
no bigger than a man's wrist
each containing 2400 thread-like
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streets their millions of spoken
messages. Long distance cables
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nect cities with one another by
storm-proof conductors, now be-
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network.
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phone wire in the Bell System
are in cable. The service of each
telephone user has become more
and more reliable with the exten-
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American Telephone and Telegraph Company
and Associated Companies
BELL f( All SYSTEM
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Three Women Writers Consider the
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(Continued from page 21)
or no contact with the motion picture
today is not keeping abreast of the times.
Can a writer afford to ignore the motion
picture? One thing is certain, which is,
that any writer who keeps his work and
product in step with the movies can afford
most anything.
Yet, here is a representative group of
the foremost women writers in the world,
whose opinions on the motion picture
should be intelligent, valuable and con-
structive. Motion pictures are a newer
art, but a blood relation to the printed
book, which it should be their business at
least to become well acquainted with.
Yet here we have the concrete feeling
and expression of three great constructive
minds upon the art of the motion picture,
with particular reference to our method
of preserving that art. It is a bitter pill
for the British to swallow, this Yankee-
izing of the films that once promised so
much for the English producer. They
make wry faces at the facts. And the
facts remain, that America is in control
of the world market, and when I compare
American pictures with those of any Other
country — by and large — I find ours do
excel.
REBECCA WEST
(Continued from page 20)
"All English films are bad. We have
no money, cannot pay, like Hollywood, to
keep up a reserve of actors for the films.
We must depend rather on a group of
players that must be doing other things as
well. We cant have West End actors at the
price we are obliged to offer them, but
must take the provincial actor. The pro-
vincial actor requires a long training and
by the time we had given it to him, the
film field was lost to us.
'America does not seem to take seriously
— from an art view, I mean — her position
in this matter of a world-leader in a field
of incalculable influence. We look to
America for better things than she has
been doing."
SHEILA KAYE-SMITH
(Continued from page 20)
sort of literature in England, the 'penny
shocker.'
"So, if I were to criticize the films in
one particular more than another, I would
point to this tendency of taking the life
out of their stories and stuffing them with
sawdust or candy or bank-notes.
"Life is so interesting, so thrilling ! And I
mean the ordinary every-day life of every-
day people. Why dont the film people
take up the middle-class life more? Of
course, the middle-class life will need ex-
pert handling by accomplished story-tellers.
It is so easy for anyone to weave a fanci-
ful tale, an extravagant story, around some
happening that seems to demand it. But
the curious part of it is, that common,
ordinary things are intrinsically interesting
— if handled in an artistic manner. And
by 'artistic,' I do not mean in some high-
falutin way, but inspirationally treated in
an honest fashion by some good literary
craftsman.
"Oh, I think the films have really their
biggest field still before them in this every-
day life of every-day people. There will
be a great impetus, a sort of renaissance,
when they discover real life. Of course,
they are bound to do it sooner or later."
MAY SINCLAIR
(Continued from page 21)
names. There are Queen's Gates, Queen's
Gate Roads and Queen's Courts in every
section of London, where some queen or
other during the past thousand years has
honored the locality by stepping her foot,
or possibly sending her Equerry. It is all
cut off the same piece of cloth of public
sentiment with our "Washington's Head-
quarters." No locality is going to give
up its Washington's Headquarters, even
tho some stupidly honest college professor
should discover that it was Booker T.
Washington.
London is the same. It has its Abbey,
or Queen's or King's this or that every-
where, and stubbornly holds on to them.
The only way to be sure to locate the
one you want is to fix firmly in your mind
which section of the great city in which
it may lie — W., W. C, E. C, and so on.
Having lost my bearings, it was with
great difficulty, then, that I found Abbey
Road.
May Sinclair lives in a little house on
the corner with a bay window, just like a
thousand other houses in long dismal rows.
It is not a pretty part of London. There
is a latched gate and a small yard in front,
a brass door-knob and bell-pull, a cold
entrance hall and a hesitating slavey that
goes with it — just as there is with all the
rest of the little houses in the neighbor-
hood. There is a back parlor in the rear,
too, with a handful of fire in the grate.
And before this little fire I found May
Sinclair — the real May Sinclair, not the
one I had imagined.
She seemed very small as she sat perched
in a large chair like Alice in "The Looking-
Glass," her legs so short that her feet
scarcely touched the floor. But that might
have been partially an illusion. She wore
a shiny black silk dress and held an enor-
mous black silk cat — named Jerry, I learned
later — on her lap. She looked just like
one of those little side-street persons of
whom Sheila Kaye-Smith had suggested
that the movies ought to depict their lives.
So this was May Sinclair !
"I would like to tell you only about my
experience in relation to my novel, 'The
Immortal Moment,' that was done in the
films. I may say that they took great pains
to get the scenes in Italy. But beyond that,
the performance positively made me ill!
"They turned the quiet hotel I had pic-
tured in my novel into a palace. In my
story, the chief woman character commits
suicide. There seemed no other way out.
The man of the story was really quite
an impossible person, especially with chil-
dren, yet in the last scene the door is
thrown open and two little children come
in and put their little hands in his and he
folds them in his arms. If he had suf-
focated them, it would have been better
artistically, I should not have minded. But,
just fancy the audience thinking I had
done a thing like this !"
80
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CHICA60
The Man Who Envies
Bill Hart
ntitmtd from /••'•/■ 39 1
applause m .1 nesl of -int> -it •• picnic I
want i" get ju^t one chance to k<> thru
m\ solid reels whhoul having t" button m>
cull. ii even once. I crave ju>t one picture
in which l can teai loose t>> mj hi
content, fan -i ii* gun till the air is blue,
ruthless 1) slaughtei the vill.nn and .ill liis
little playmates, and in general ili-i*"1 mj
sell like .1 ti ue son "i the \\ ide ' >iM'"
Places. Then maybe I can resign myself to
n« >iiiLi back to the societj type <>i work
n."
i lutdoor life and acting have always been
the two bis interests in Huntlj Gordon's
lni He is a native 1 ianadian, born in
Montreal, and educated in London, England.
From Stock Tickers to Studios
"J" no ho hated the thought <■!" .1 business
* career, he gave it an arduous tryout in
New York City. I" the space 0. .1 verj
few years he succeeded in failing with
amazing thoroness and rapidity in ball a
dozen different business ventures. Then
the stage chance for which he had secret!)
been longing came when he applied for
work in "Life," as mellow a drama as ever
graced the boards of Broadway, and was
given a minor role.
The big feature of the play was sup-
posed to be a boat-race between Yale and
Harvard. The climax came when the two
Shells Hashed out on the stage, with Yale
slightly the winner. Good-looking, husky,
young athletes were required to man these
boats. Huntly's physique, as well as his
face, caused him to be chosen for this, his
first role, on the stage.
It was soon seen that Gordon was "dif-
ferent." He was well educated and could
read lines. His speaking voice was ex-
cellent, and physically he was enough to
challenge any eye. His well-knit frame
had everything the popular matinee idol
was supposed to have and, even then, he-
was sartorially perfect. He advanced rap
idly until he was understudying the leading
man.
He struggled from one part to another
until 1910, when he won a prominent role
with Ethel Barrymore in the stage-play,
"Our Mrs. McChesney." Ralph luce, the
motion picture director, was then on a
search for a leading man to appear oppo-
site Anita Stewart. He saw < iordon and
made him a ver> flattering offer. Huntly
sought the advice of Miss Barrymore, who
advised him to accept the screen proposi
tion. lie did. and thus made his picture
debut with Yitagraph. It is interesting to
note that, when \li>s Barrymore made
"Our Mrs. McChesney" for the movies
two years later, she summoned Gordon to
play opposite her.
From the date of his screen debut until
1922, when he came to Hollywood. Gordon
intermittently played on both the stage and
the screen. It was I.ouis I!. Mayer who
brought Gordon to Hollywood to play the
role of Jeffrey Fair in "The Famous Mrs.
Fair." Critics hailed him as a real find,
both for his appearance and his ability.
That picture "made" (iordon on the screen.
Since then his film career has been a stead)
march to success, with prominent roles 1 >p
posite l'ola Negri, Pauline Frederick, Betty
Compson, Viola Dana, Helene Chadwick,
Irene Rich and half a do/en other leading
feminine stars.
Perhaps some day a picture producer
will be far-sighted enough to give Huntlj
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The Old ReliabUOrieitialCrediUeweUrs
The Celluloid Critic
{Continued from page 78)
when they naturally fail to grasp Conklin
as the possible heir to the throne. Then,
too, the young man's English is difficult to
understand.
Well Burlesqued
I— If. had met the heroine (the princess)
while invalided on Spezonian soil dur-
ing the war. The girl does not recognize
him, since she had only seen his eyes, the
rest of his face being swathed in bandages.
But he remembers her — and he is thrust
into matrimony with her — tho he doesn't
know what it's all about.
. There is a lot of good-natured burlesque
of court pomp and ceremony — with the
funniest sequence revealing the quick-
stepping bodyguard going thru their in-
tricate evolutions. The bridal night also
has its mirthful moments — while the fight
at the finish, in which Dix and "Gunboat"
Smith whip all the able-bodied men of
Spezonia, is fast and exciting.
In all, "Say It Again" is a rollicking
number which only pauses in its journey
across the screen to permit a few romantic
interludes. The subtitles are rather amus-
ing, tho the constant repetition of spelling
them backward to indicate the language
of Spezonia becomes somewhat tiresome
after a while.
If I were to pick out any particular high-
light, I would select Conklin's expression
of fright as he turns the pages of the his-
tory of Spezonia and discovers how de-
parted kings suffered violent deaths. It is
a hilarious scene.
The acting is creditable all the way —
with Dix playing his role easily and surely.
Alyce Mills, his new leading woman, suc-
ceeds in being charming — while the "Gun-
boat" and Conklin take care of the laughs.
Another Farce Comedy
Cpoxtaneity should be the cry-word with
makers of farce comedies. It hasn't al-
ways been remembered in "Money Talks,"
for the piece slips and slides in its pace
quite frequently. Naturally, this tends to
make it lose some of its sparkle.
The farcical twists evaporate rather
quickly — and what develops is a series of
slap-stick gags when Owen Moore, after
the style of Syd Chaplin, dons dresses and
a wig and proceeds to cut up a few high
jinks. Owen appears as a flashy youth
engaged in the advertising business. Like
a good bluffer, he succeeds in putting up a
good front.
The idea— true to most farcical ideas —
centers around the youth having tiffs with
his wife. She tires of his unfulfilled prom-
ises and goes back to mother. However,
the author doesn't neglect the happy end-
ing. He sees to it that the youth stumbles
upon prosperity. So it all ends merrily
and peacefully.
The piece has its high spots. You cant
take anything away from Owen Moore.
His interpretation is breezy and to the
point, while Bert Roach and Claire Wind-
sor handle their roles to extract all the
humor and charm from them.
Hines Helps Himself to a Good One
\Jo moviegoer who treasures his laughs
can go wrong with "The Brown
Derby," Johnny Hines' newest essay.
Truly, it's a lively, rollicking number —
and one that should sky-rocket the comedian
right up there on the highroad to popu-
larity. He can look the world in the face
and say, "Folks, I've put it over."
The piece is bright with an assortment
of brand-new gags — which burst forth and
spread the silversheet with liveliness.
Spontaneous laughter is developed at the
start — and this response continues to the
end. There may be some old high jinks
here, but if there are they are not recog-
nizable. That's how this comedy has been
treated to look novel and neat.
"The Lirown Derby" has a "snap and go"
about it which keeps it moving with fine
speed. Xot a scene is shown which loses
its pace and gingery quality. We see Hines
suffering from an inferiority complex in
his "underdog" study of a plumber. He
inherits a brown derby from an eccentric
uncle — a derby which carried the old fel-
low to a financial triumph — and it brings
him all sorts of good luck as well as en-
abling him to conquer his inferior fancies.
The head-piece almost has a mind of its
own in the manner which it places Hines
in one tight jam after another. It skips
about of its own accord — and the comedian
skips about some himself. The w. k.
chase figures for a finish to the merry
mix-up — which involves the characters in
a marital scene of mistaken identities. I
recommend this comedy. It is a sure-fire
laugh-getter.
Marie as Mabel
And still they come — these film farces.
The month seems to be devoted to
showing them to the exclusion of the
straight romantic stuff. One of the new-
est entries is "Up in Mabel's Room," with
Marie Prevost cast as the irrepressible
Mabel.
As the title indicates, this farce comedy
has to do with a marital mix-up — with the
figures making frenzied dashes in and out
of Mabel's room. The crisp dialog of
the spoken version has been silenced, but,
nevertheless, the director knew what he
was about. He has timed it well so that
the action is projected in gingery fashion.
The piece calls for much activity — and,
like all farces, a word of explanation from
one of the dozen characters would give it
away long before it had run its course.
But true to the unwritten law of the thea-
ter— these characters keep silent. And so
the fun is on as they try to capture the
filmy piece of lingerie which is up in
Mabel's room.
Now Mabel, mind you, has made up her
mind to win her. divorced husband over
again. She mistrusts the lingerie was in-
tended for another girl. And so it becomes
a battle of wits between the quarrelsome
love birds — which culminates in a happy
reconciliation. The players keep on the
move all the time — hence there are no dull
pauses.
Marie Prevost demonstrates very capably
that she is a clever comedienne — and Har-
rison Ford plays with that mock serious-
ness which is necessary to interpret farce
correctly. Harry Myers is also in the
picture.
Colleen's Comic Strip
A satisfactory job has been done by the
■^ comic strip, "Ella Cinders," in con-
verting it into celluloid. While the title
spells Cinderella backwards, you can judge
for yourself what the theme indicates.
Just the same, it is a refreshing little ver-
sion of the Cinderella pattern — one that
carries its measure of hokum, but which,
nevertheless, is not spoiled by it.
Colleen Moore's personality is easily
adaptable for the role of the drudge who
becomes movie-mad — and wins a beauty
contest to enter the movies. She gives it
the requisite amount of wistful appeal, plus
(Continued on page 84)
82
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The Changeable Chaplin
ntinutd /■
Ova i cup of coffee and i roll in the
Mont ma i ire, i hai lie lold lotne ol hi
i>ti nine-, with people who breezed up t.>
linn and asked nim whether he waj
i ti.it lie i haplin,
"I Mt) ti« ihcui," s.u.l ( li.H lie, " '
am i harlie t naplm.'
"Say, I saw you m in L908 in
vaudeville AM I RIGH r?" they wind up
with a thunderous Sourish,
"1 pause, nodding, and then tins type
ol individual will repeat so that everybody
in the restaurant thinks we are having a
frightful argument: 'AM I RIGHT?1
"Do you know that this s,,rt of man is
so difficult tu Kct rid of, thai I feel bice
pushing back my chair and leaving my-
self."
And this ("haplin, the Kennington boy,
now better known than Irving, Mansfield,
Tree or Bellew, more famous than Ade-
lina Patti, Melba and others, renowned in
nooks of thf u,l(ihe that have never heard
of the celebrated clown, Grimaldi, is a
film genius who hasks in the sunshine of
his own achievements and is at the same
time appreciative of the worthy efl
of others.
Masters of the Motion
Picture
(Continued from page 66)
congested streets of Los Angeles in a
skiff, the next moment pounces upon an
arrow-collar man, dressed in l'.\ D's, who
is shaving before a chewing-gum mirror,
and in the next moment is catapulted into
an enchanted garden where film stars are
diving backward, full-dressed, out of a
swimming pool. . . . The speed of these
incidents is skilfully increased by Cruze
all the time. He is a master of tempo
who understands the compelling power of
visualized motion as neither Lubitsch nor
Stroheim do. He save us, moreover, a
true impression of the wild, wild American
scene with its headlong speed and its un-
reasonable characters. "Hollywood" was
as pure a product of American life as Jim
Europe or Ring Lardner or the Krazy Kat
cartoons.
Dynamics
T have rated Yidor's "The Big Parade"
as a masterpiece in a previous issue of
The Classic. I must add here that it is
also a masterpiece of dynamics. So intent
was Vidor on controlling the movement
of the film that he had each gesture and
step taken to the beat of big drums, quick-
ening in time as the action grew more
intense.
The greater discoveries will come from
this direction, I suspect, rather than from
the European school. There are experi-
ments already with machines, whose re-
sults look quite terrifying, as yet But,
then, they must never stop experimenting.
. . . Altho the movies have already come
a great distance forward and have achieved
a tremendous range of expression as an
art in their own right.
Get the habit and buy the
Classic. There is quality in
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Classic will he another lively,
sparkling number.
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I Wonder What Became of Him
(Continued from page 27)
One of the most remarkable jumps from
the background to the "five-foot line,"
as the privileged space before the lens on
which the stars tread is known n studio
parlance, has been accomplished right
under our respective noses by one Ray-
mond Keane — an extra. Raymond de-
scended upon Hollywood a few months
ago from Denver, confident of success
only as those who admit to being seven-
teen or a little over can be confident. He
was one of the many extra boys who clut-
tered up the massive sets on which Norma
Tahnadge acted in the film "Graustark."
But Raymond refused to be mothered.
His personality caught and held the at-'
tention of Buchowetzki, one of the contin-
gent of imported directors of which we
have quite a few now in Hollywood. The
director's interest brought Raymond a part
with Laura La Plante in a Universal film,
with the result that the young extra is now
firmly clutching a contract which calls for
his services for the next five years in Uni-
versal productions.
But all extras who achieve a rise from
the background players are not so fortu-
nate as young Keane. There come to
mind instances of several players who
forced their way thru the mob to camera
recognition, held the spotlight momentarily
and then dropped back to the extra class
again. Many of you, who sometimes
wonder what has become of the player you
were beginning to like, can satisfy that
curiosity by scanning carefully the crowd
scenes and ballroom gatherings as they
flash across the screen — they're there,
sunk again in obscurity and their big
chance gone, probably forever.
Griffith Discovered a Few
Tt is more cheerful, tho to contemplate
some more present screen favorites who,
not so long ago, bore the tag of extra.
Norma Shearer, for instance. The delight-
ful artist who registered so strongly in
"His Secretary" recently, cashed many a
five-dollar check as one of those "on the
set" with Corinne Griffith, Colleen Moore
and other stars with whom she now holds
equal rank. Can you wonder, tho, that
Norma succeeded in saving you the trou-
ble of asking "I wonder what became of
her."
The director to whom belongs the most
credit for sensing the possibilities of talent
among extras is D. W. Griffith. His
selection of Lillian and Dorothy Gish, Mae
Marsh, Carol Dempster, Bobby Vernon,
Charles Emmett Mack and others too
numerous to mention who evolved from
the supernumerary contingent is proof
conclusive of this. It is strange indeed
that the soldier who held the screen with
Lillian Gish in those scenes in "The Birth
of a Nation" did not find a place with the
other extras who have risen to stardom.
A glance at some of the old stills which
present various scenes from the first pro-
ductions of the late Thomas H. Ince re-
veals the fact that many of the background
characters of those early days may be num-
bered among "extras who have made
good." Two who come to mind are Leo
Maloney, possessor of a starring contract
with Pathe, and Charles Ray. Awhile
back we spoke of Wally Van. This same
Wally has to his credit the foresight of
seeing in a dapper young man fighting for
recognition in the old Vitagraph days the
makings of a good screen actor. The dap-
per youth was known as Adolphe Menjou
and he was given the chance to display his
ability in "The Scarlet Runner." a Vita-
graph serial starring Earle Williams, and
which Wally directed.
There is one man we know of who broke
into the movie studios via the extra route
who is now a millionaire. Jack Coogan,
Sr. The daddy of the screen's most be-
loved juvenile star formed part of the line
which filed regularly to the paymaster's
window at the old Metro studios in Hol-
lywood. In the picture which brought
Coogan, Sr., and Jackie from the extra
class, "The Kid," starring Charlie Chaplin,
the father of Jackie may be discovered as
one of "those present," providing atmos-
phere for Chaplin and his talented off-
spring.
And so we could go on indefinitely nam-
ing players from the extra fold who have
made good, but arrayed against those we
have mentioned are the hundreds who still
remain — extras. We have seen them do an
excellent "bit" of acting more than once
and in rare instances we have seen them
"steal" the scene from the featured player
with whom they may be working. And
as we file out of our favorite theater we
bury them under the blanket of obscurity
with the casual "I wonder what became
of him."
The Celluloid Critic
(Continued from page 82)
a roguish sense of humor. And Ella, as
a result, stands out conspicuously, thus
winning your sympathy.
There is a scene at the railroad station
which contains a bit of pathos. The folks
are certain the girl will make good, par-
ticularly the young iceman, who believes in
her. But the best episodes are found in the
journey in the train and later at the studio.
The car scene brings a laugh when a small
tribe of Indians in full regalia occupy all
the seats. One brave commands the girl
to smoke a cigar just like the squaws op-
posite her. And Miss Moore gives play
to her plastic expressions in her effort to
please the Indian and make her stomach
behave. The studio bits reveal some inside
stuff regarding productions — and the hu-
morous side of trying to crash the gate
makes a bid for a laugh — and gets it.
In all, a pleasing number — one that is
capably titled, allowing for a few wise-
cracks here and there — and acted and
staged up to the best requirements.
Hero-Worship
Warner Brothers have a picture in
"Why Girls Go Back Home" that
carries all the earmarks in its title of
being a preachment. One might imagine
it to be one of those home-and-fireside
melodramas in which Pop and Mom wait
patiently for their erring daughter to re-
turn by the light of the parlor lamp. This
is true in some respects. Yet the director
has refrained from resorting to the obvi-
ous. He embroiders it with enough deft
touches of humor and humanities to make
it bright and interesting most of the way.
The picture — or rather the action —
doesn't take itself too seriously even if its
plot does get out of hand here and there.
Where the director has erred is in pound-
(Continued on page 87)
84
Impressions of Hollywood
mlinued from pagt 72)
When the monk had been sufficiently r«
hearsed, the lights were turned on and the
camera i-runkcd while the monkej turned
the radiator handle. ( louds ol something
th.it looked likt- steam came from the
rsdiatoi . I h ned the monk and
he ran i » t V the set, but fortunateh the scene
was not spoiled. I hey wanted a retake,
but for the life of them the) could not get
that monk t.> k>> "ear the radiatoi again
hissing steam spelled dangei to him but
next daj the) were trying it again and
from last reports they finall) gol the monk
to do the stunt successfully.
Another peculiar thing about monkeys is
that the) are afraid of revolvers. * me da)
thi> very monk was very much agitated for
no known cause and the) could not get him
to do anything whatever, ^t last the master
said, "There must be a revolver some
where," and sure enough, on looking
rid, they found a revolver almost hid
tUu among papers and things <>n a desk in
a distant corner. Monk had spied it and
refused to work until it was removed.
Another Fashion Show
Fashion pictures appear to be all the
ge just now. The huge set that ( ol
leen Moore had in "Irene" was so mi. -
nil that they arc all doing it now. The
last I saw was one at the Fox studio in
"lit; Leaves," in which Olive Borden is
starring. It is a gorgeous set with mar
velous gowns and girls and it is being made
in technicolor. I am told they will use
It eighl hundred t'eet of this fashion
Stuff, which means that one-tenth of the
picture will he that and nothing else and it
sting a mere trifle of $40,000.00 for
this scene.
Doug's Wit
LIarold Lloyd is not funny at all in real
life, and does not try to he witty.
Doug likes to make merriment. He was
riding on a trolley out on location recently,
and the conductor, not recognizing him,
said: "I got your fare, didn't [?" "No,
I think not," Doug replied. "1 believe 1
saw you ring it up."
Personalities
LJ akrv Carr. most beloved of all writers
on the Coast, is to von Stroheim what
soothing syrup is to a baby. And \ on
is very much of a baby. If handled right,
he is not hard to get along with, and as
for Harry, anybody could get along with
him.
r\oROTHY Manners and Doris Denbo
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say.
(""^harles Farrell, who played in "Sandy"
attractively, is doing so well in "Old
Ironsides" that he will probably be in the
matinee-idol class before long. He be-
longs to Fox, who loaned him temporarily
to Famous Players.
Ample argument
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The O'Brien Boy Gets a Kick Out of Life
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those three things happen to be George's
favorite dishes.
If he hadn't made good in pictures, there
would very probably be a big, muscular,
laughing young Irishman writing history
in some far corner of the earth right now
— driving a sullen crew of Kanakas at the
pumps of a pearler in some crystal lagoon,
panning raw gold from the virgin gravels
of Papua, or else taking joyous chances in
one of those South Sea isles where some
luckless member of a rival tribe often
finds himself included in the salad course
at the festive board.
For George O'Brien has the joyous in-
stincts of the born wanderer, the ceaseless
thirst for new places and new thrills, that
only a certain kind of Irishman can have
to the fullest measure. Picture work is
giving him that variety and thrill. Con-
sequently, he is happy — for the time being,
at least. If pictures ever bore him, how-
ever, I have a strong hunch there will be
a vacant chair in Hollywood some bright
morning.
Has the Gypsy Urge
f~* eorge told me of his inborn gypsy urge
the other afternoon as we sat chatting
on a log at the edge of one of the weirdest
sets in Hollywood. It wasn't an interview.
Mere personalities were completely forgot-
ten. We compared notes on those parts
of the world we had both seen, and then
argued the respective merits of those parts
we wanted to see. My pet ambition has
always been to invade the upper Amazon
and collect spider-monkeys and anacondas.
George claimed that the unexplored inner
part of Borneo promised twice the thrills
of the Amazon. And so we argued the
matter amicably, there on a property log
at the edge of the Garden of Eden.
The Garden set was for a sequence in
"Fig Leaves," in which George and Olive
Borden are playing. It was far from the
conventional idea of Eden. The forest was
virgin enough, but the trimmings were
weird. The tree bungalow of Adam and
Eve had a sign in front, "No. 780 — No
Peddlers Allowed." A crude street-car
track ran nearby, a sort of Stone Age
edition of the "Toonerville Trolley."
The single car was drawn by a lumbering
brontosaurus. Or it may have been a
diplodocus. I never could tell the boys
apart. Whatever it was, it weighed about
a ton, had spines down its back, three horns
on its nose, and looked like a mixture of
a Chinaman's idea of a dragon, a Medieval
concept of Beelzebub, and a gin addict's
vision of a lavender-eyed grakkiwampus.
Seven men concealed in its interior manipu-
lated its movements with startling realism.
George, as Adam, was clad in a suit
of bear-skin lingerie, and had a flowing
wig that would have shamed Samson him-
self before he got his fatal "Delilah bob."
Olive Borden, as Eve, wore a gorgeous
fur that had cost some luckless leopard
all nine of its lives. After gazing at Olive,
I realized for the first time why Adam
fell for the apple. He was lucky it wasn't
a pumpkin.
"There's what I mean when I say that
picture work gives me a real kick," George
indicated the exotic set before us. "Where
else would you find a scene like that? And
where else in the civilized world would
I get a chance to dress like this and play
Adam, without landing in some nice quiet
booby-hatch?
"In pictures I never know what I'll be
doing next. Today I'm Adam. Next
month I may be playing a lumberjack up
in Oregon. The month after that I may
be a prospector over in Arizona. In this
game you never know what's around the
next corner. That suits me in every way.
I dont even want to know when I get
up in the morning what I'm going to do
that day. I hate routine. And I never
make plans. They take all the kick out
of life.
"I'm glad I've managed to get across
in pictures, of course. I worked mighty
hard in doing it, and success has brought
the same feeling of satisfaction to me that
it brings to any normal man who has
finally won it after a hard pull up-stream.
I like the acting and the other things about
the game. If I didn't, I wouldn't be in it.
"But the real appeal of picture work to
me is the constant variety and ever-
changing life it offers. No two days are
ever the same. It's hard work, sure. But
what does that matter? It offers travel,
thrills, the unexpected, and it's work that
I really like. What more could any sane
person ask?"
The Son of a Cop
(^eorge O'Brien came honestly by his
love for adventure and action. .His
father is Chief of Police in San Francisco,
and that is a job not noted for humdrum
daily routine. The O'Brien family never
knew whether a bulky package in the
morning mail was a box of candy or a
bomb sent by some affectionate little
Nihilist as a holiday token. Death threats
were common events.
His parents decided that it was time that
the family had at least one quiet member,
so they planned for George to be a physi-
cian. They might almost as well have tried
to grow a morning-glory vine from an
acorn. The World War came along very
conveniently, and George immediately en-
listed in the Navy.
Hostilities over, he returned to college
at Santa Clara, and became famous as an
all-round athlete. Then he decided that he
wanted to be an actor, and the medical
profession promptly and permanently lost
a promising candidate.
He succeeded in getting occasional work
with picture companies on location in San
Francisco, and finally entrained for Holly-
wood with one of them. Actors seemed
to be a drug on the local market when
he got here, so George became an assistant
cameraman with the Tom Mix troupe. He
attracted the favorable notice of the cow-
boy star, and a warm personal friendship
began between the two, a friendship that
has endured unbroken ever since.
George jumped at the first opportunity
to forsake his camera crank for the grease
paint, and he was soon back in the dramatic
ranks again. He traveled to Panama with
the Thomas Meighan company when "The
Ne'er-do-well" was filmed, and other fairly
substantial parts followed in various stu-
dios. Then the one big chance that comes
at least once to every player came when
Director John Ford started casting for "The
Iron Horse."
George won the coveted role of the ex-
press rider in the Fox epic after camera
tests had been taken of half the male popu-
lation of Hollywood. W'hen the picture
was finished, George had "arrived." His
work since has held to the same high
standard, and the O'Brien star is now very
near the top of the movie firmament.
George is a born actor, and a good one.
He throws himself into every part with a
whole-hearted Celtic fervor that carries
everything before it. He is good-looking
in a virile, he-man. fashion that appeals to
men and women alike.
86
The Celluloid Critic
ing home his message It is as il he didn't
credit his audience with sufficient intelli
to grasp it
.ill things considered, the film
shapes up a- moderate!} good entertain
unlit. Win Because its high lights fai
outweigh its Haws.
A Fine Theater Story
I recall evei having seen a more
sorbing and moving storj ol the thea
tir than what is revealed in "The Mai
Clause," which brings E.ois Weber,
the only woman director, back to the
Kleigs and the cameras. In the first place
it has .1 real dramatic plot one charged
with deep pathos and tenderness. And
carrying such qualities, Miss Weber has
ted a woman's privilege in emphasiz
ing them with fine humanities.
Everyone who is the least bit familiar
with the theater knows that certain man
exercise a dominating influence over
their star-. If the latter prove t<> be un-
usually successful, they are compelled to
sign contracts carrying the marriage
clause which stipulates they must not
marry during tluir contractual obligations.
Billie Dove Soars High
ETsOM this wry logical idea this story is
established— and it moves along with a
well-defined ring of truth. The central
figure, played with fine emotion by Billie
Dove (it is her greatest role and she en-
dows it with great feeling), is signed up
by the manager. She is placed under the
guidance of the stage director who e\
irts a sort of Svengali hypnosis over her.
When he is near her, she feels Confident
and secure- and manage- to get the utmost
expression. Naturally they fall in love.
You ask where is the conflict? It en-
ters in the element of jealousy manifested
by the manager. In other words, he trie-
to make things unpleasant tor his direc-
tor—and succeeds. The latter, being highly
sensitive, broods over his humiliation —
and, thinking the girl's ardor for him is
beginning to cool, he descends the prim-
rose path. He places wrong conclusions
on subsequent events in the girl's life —
and yet he loves her well enough to re-
turn for her premiere under the guidance
of another director.
The girl, meanwhile, has become de-
spondent— and fails. With her life de-
spaired of. the Svengalian director hastens
to be with her. In her delirium he coaches
her with the same words he used when he
made her a star in the first place. The
crisis passes and all ends happily.
Very Real and Human
Tx the mere outline of this picture I can-
not do credit to the many little touches
of humanity which saturate it. The story-
is poignant and it is treated with a fine
appreciation of its heart throbs. The the-
ater side of the plot is ever present — and
because the idea is so genuine it will catch
everyone's attention and hold it. There i-
no hokum here. What is revealed could
reasonably happen in any large city which
caters to stage activities.
Be it said that the manager becomes
more pliable to his conscience and the mar-
riage clause is stricken out.
The acting is of a high quality thruout
— especially in the performance by Miss
Dove — and the excellent support contrib-
uted by Francis X. Bushman and Warner
Gland as the director and manager, re-
spectively.
A^v^^syNrt^^^^^-^^.vvv^.^/v^^^A^^^^^^^^^^^A^AAA-^^^v^«^^^^w^^AA•v^^^^vAA^^^«yws^^^^^^vv
Setting the ^acel
I t's a difficull matter i" set the pa< e
and keep it. Yet thai is JUS1 what
T] II CL 1SSIC lias marked out tor ttSCll
ever since it entered the publication
held. It i> the one de luxe magazine
ol the film world. As everyone i> in-
terested in motion pictures, Tin
Classic is the one publication to sup-
ply the demand for brilliantly writ-
ten articles. It is dedicated to the idea
of furnishing its readers with live
topics and live pictures. Its contribu-
tions are tree ol bunk but, i)n the other
hand, treat of films and the people as-
sociated with films in an authoritative
and fearless manner. The Classic is
not only the most beautiful publication
of the screen, but it is also the most
original.
When you glance over its list of con-
tributors, you will recognize the fore-
most writers of the screen — writers
who know every angle of picture pro-
duction— and who give you first-hand
knowledge of what's going on in the
celluloid world. There are Eugene V.
Brewster, the founder of the Brewster
Publications, Adele Whitely Fletcher,
Gladys Hall, Milton Howe, Harry
Carr, Tamar Lane, H. W. Hanemann, Don Ryan, Don Eddy
— and a host of others. These all write for The Classic —
most of them exclusively.
There will be several fine scintillating articles in the Sep-
tember issue — as well as a complete assortment of beautiful
pictures. Don Ryan will tell you about the Foreign Directors.
The article places the cards right on the table in regard to the
foreign invasion.
The September CLASSIC will also continue Henry Albert
Phillips' interviews with famous European writers, in which
they talk about their impressions of the screen.
There will also be interesting articles about \V. C. Fields, the
new comedy star, Reginald Denny, and Lewis Milestone, the
director.
And dont fail to read about Hollywood's Pet Extravagances
and The Great Athletes of the Screen.
Read the Classic. It supplies you with accurate and interest-
ing information of all the varied activities of the film world.
****\*<iSS^*>^SSS*SSSK*i*>^^****^i^^*V\i*i/**^^
87
Once I Too Wis
WfeaK and Ailing
By oAnnette Kellermann
(TV^ANY people will be
Q^SoL surprised to hear
that as a child I
was so deformed as to be
practically a cripple. I was
so weak, so puny that I was
considered an invalid. I was
bow-legged to an extreme
degree ; I could neither stand
nor walk without iron braces
which I wore constantly. My
mother put long skirts on
me, down to my ankles, to
hide my bow legs and braces.
No one ever dreamed that
some day I would become fa-
mous for the perfect proportions
of my figure. No one ever
thought I would become the
champion woman swimmer of
the world. No one ever dared
to guess that I would be some
day starred in great feature
films, such as "A Daughter of
the Gods," "Neptune's Daugh-
ter," etc. No one ever dreamed
that I would some day travel _ j ]Q2b
the world over, appearing on the
stage, at great universities, on
lecture platforms, explaining my
methods of acquiring and maintaining perfect
health and a perfect figure. Vet that is exactly
what has happened.
I relate these incidents of my early life and
my present success simply to show that no
woman need be discouraged with her figure, her
health, or her complexion. The truth is tens of
thousands of tired, sickly, overweight or under-
weight women have already proved that a per-
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I invite any woman who is
interested to write to me. I will
gladly prove to you in 10 days
that you can learn to acquire
the body beautiful, how to 7nake
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strength and energy so that you
can enjoy life to the utmost,
how to be free from colds, head-
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constipation, weak back, and the
many other ailments due to
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how to acquire perfect woman-
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Just mail me the coupon below
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about my special Demonstration
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before my present supply of free
books is exhausted. Address,
Annette Kellermann, Suite
385, 225 West 39th Street, New
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ANNETTE KEI.LKRMAXN, Inc., Suite 385
225 West 39th Street, New York.
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y
Flash Backs
{Continued from page 55)
star has invariably had his own way when
it came to setting up new records. But
his audience was drawn thru the appeal of
his characterization plus the all-round ex-
cellence of his pictures. Which makes us
think that Gilda's personal magnetism is
what drew the crowds. They came to see
her dance in the flesh and as her celluloid
self in the same terpsichorean number.
The Cinema Chair
LJ/7LL there be a cinema chair at Yale?
That is the question which is agitating
the learned professors and the student
body. For the first time in the history
of motion pictures, a large seat of higher
learning gave the honor of its approval to
the movies thru the presentation of "The
Big Parade" at one of New Haven's thea-
ters recently — under the auspices of the
Yale University Dramatic Association.
The picture was so honored because of
its freedom from artistic defects and its
combination of all the qualities deemed
great.
The premiere was recognized as a step
forzvard in the recognition of the movie
makers by the colleges and may lead to the
establishment of a chair of cinematics at
Yale.
The Autumn Shower
"The producers are all busy watching one
another! Each is awaiting the oppor-
tune time to pounce upon the picture public
and beat his neighbor in showing the prize
production. Having taken a leaf from the
legitimate theater magnates, these movie
men dont risk their aces during the hot dog-
days. As a result, the public is given what
the producers please to give them. The big
specials are held back for the fall opening.
And then they drop into the theaters like so
many snowflakes.
If one producer comes along with a big,
smashing hit, he is quickly followed by his
contemporaries. By Christmas all of the
New York residents are out of the apart-
ment-house trenches and trekking toward
the big lights — and big pictures.
Among these attractions of large dimen-
sions to be shown soon are "Old Ironsides,"
"Beau Geste," "Tell It to the Marines,"
"Don Juan," "Variety" and a host of
others.
That Tragedy
THEODORE DREISER'S "An Ameri-
can Tragedy" is still being discussed in
its pictorial shadozvs. The rumor will not
down that Monta Bell will be the final
choice to direct it, tho D. IV. Griffith has
first claim. If the master of the close-up
cares to take it — well, it is his to do with
as he desires. But he is not pressing mat-
ters to any extent. First of all, he zvants
to give all of his time to "The Sorrows of
Satan." Mai St. Clair and one or two
others have sort of faded into the back-
ground as the directors who will film the
tragedy.
Personally, zvc would like Bell to have it
— as he's shown what he can do with life-
like material that sings all the chords in the
human scale of realities. It ought to be
a monumental picture — one that soars with
heart-beats. And if the director treats it as
Dreiser wrote it — there will be no doubt
of its appeal. But on the other hand, if it
is handled as written, it might possibly take
tivo consecutive evenings to show it in its
entirety. On that supposition it is easy to
make von Stroheim an entrant among the
possible directors. Von Stroheim can
surely make them long — but, incidentally,
he can also make them gripping.
Dreiser is a realist — and lie stalks trag-
edy as a cat stalks a mouse. He may not
be a stylist, but he writes with conviction
and honesty — and he always has something
to say in his vivid colorings of life. Let's
hope that the film version of "An Ameri-
can Tragedy" carries out the soul-search-
ing theme of the novel. Let's hope there
are no sentimentalities wasted over the
tragic life of Clyde Griffiths.
This brings up another argument — and
everyone is arguing over the possible
choice for the character. There seems to
be a sweepstake on as to who will come
under the wire a winner. Glenn Hunter
has been chosen to portray Griffiths in
the stage version, which will be produced
next season. He is also favorably men-
tioned for the screen portrayal.
In so far as physical characteristics go, he
docs not approach the youth at all. But he
is endowed with the necessary emotional
faucets which he can turn on at will. Yet
Griffiths is not painted as a dynamic boy.
Rather is he painted as one suffering from
inhibitions — one who holds himself in re-
straint, but who temporarily conquers thru
his physical attributes.
Gregory Kelly has also been mentioned
in a favorable light. And so has Charles
Emmett Mack. The latter is our choice of
the three mentioned. The latest to be con-
sidered seriously is Charles (Buddy) Rog-
ers, a recent graduate of the Paramount
school — and one of the few receiving Mr.
Lasky's diplomas — who seems destined to
go the furthest. He has been given some
fair sized roles — and his acting has
earned him steady work in the studios.
He, more than any of the other "dark
horses," approaches the Clyde Griffiths
of the novel. Dreiser's character is some-
thing of a young sheik — and surely fasci-
nated the girls. Buddy Rogers has good
looks and personality. The question is, can
he get the drama out of the role? It is a
large order, but with the proper coaching
he can give a good account of himself.
Greta in the Flesh
C^reta Nissen has gone back to the stage.
When the new Ziegf eld "Follies" opens,
the theatergoers will have the opportunity
of seeing her do a pantomimic dancing
number modeled on the pattern of that
which she executed in the stage version of
"Beggar on Horseback.'
There is a story back of this girl.
Somehow she hasn't quite made the grade
as a picture actress. Rumors are ever
current of how she permits whims and
fancies of temperament to guide her
thoughts and actions. And there is no
doubt that she has caused a director or
three a sleepless night or two.
Miss Nissen has not been favored with
the most suitable stories for her person-
ality— and her talent doesn't react to vamp-
ish roles at all. It's just another case of
a foreign girl who has not been under-
stood. She came to the screen with a dis-
tinct style of beauty and expression — and
neither the screen nor Miss Nissen has
profited.
We think there is a definite place for
her — if given stories and parts adaptable
to her personality. Then some director
should be found who would take into con-
sideration her temperamental flights and
handle her sympathetically.
88
The Screen Observer Has
His Say
leqw ■ tit.tt [osel von Stei i
who is always original, contemplate
ducing i picture based on Negro lite
written by Laurence Stallings, entitled
I limself."
It these ideas ai haps
ne ( ("Neil's play •> oi tin N
"Emperor Jones," and " \ll God's ChiTlun
Wings" will bear celluloid fruit.
Some time ago D, \V Griffith tried to
put out .1 comedy with \1 Jolson in .1
blackface roll \l. .^ you may. remem
walked out on the director and Lloyd
Hamilton was engaged to t.ikc the burnt-
comedian's place.
The piece didn't make much oi a stir
in the picture world.
According to the best authorities these
stories will nol carry anj thing offensive
to the whites. .1^ the} will be produced as
comedy dramas. It 1 >> Mille is realb
ius about making a picture of N<
life, 1 recommend that he engage Paul
Robeson, the Negro actor and singer.
It these pictures arc really made and
become popular it might be possible that
the most prominent black man in the pub-
lic eye will try and talk "turkey" to the
producers. I'm paging Harry Wills. If
he ever tights Dempsey or Tunnej and
wins the decision the Senegambian maj
take up his abode in Hollywood and dare
the producers to keep him out of the cam
era lines.
Peter Fades Out
Ctron'CIIE.srt and Rin Tin-Tin have lost
their greatest rival, Peter the Great.
The big police dog checked off this mortal
coil at the Hollywood Dog and Cat Hos-
pital the other day, following an unsuc
cessful operation for a gunshot wound.
Peter was shot during a dispute between
his trainer, Edward Faust, and Fred
Cyriacks, dog fancier, at the latter's home.
While the dog was valued at $75,000 by
his owner, Charles B. Dreyer, he never
became so successful on the screen as
Strongheart and Rin-Tin-Tin.
An Ardent Lover
(""LARA Bow found herself in the head-
lines the other day when an ardent
admirer, Robert S. Savage, former Yale
football star, attempted suicide when she
refused to marry him.
Clara very firmly stated, according to
the press despatches, that he-men didn't
attack themselves with razors — they used
guns. She also declared that she is en-
gaged to Gilbert Roland, a young film
actor.
As for Savage he was taken to a hos-
pital and later forced to face insanity pro-
ceedings as the laws of California requires
the sanity of any person who attempts
suicide to be investigated. The Lunacy-
Commission examined the youth and pro-
nounced him sane.
The Spanish Songbird
Ail of Hollywood is talking about the
^^ reputed offer of seventy-five thousand
dollars for the services of Raquel Meller,
the Spanish songbird — with an executive
of Famous Players as the party holding
the contract. This did not sound like a
lot of money out Hollywood way until it
was learned that the offer was made for
Meller's appearance in one picture.
Just what Meller will play is not an-
nounced, hut it is a cinch she will be given
a story' with a Spanish setting.
You Want This Book !
"BEHIND THE SCREEN"
(Illustr.it.il)
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1
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"■npHERE is intense drama in Mr. Goldwyn's
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Farrar, sensing the company's disappointment
in the results of her pictures, voluntarily tore up
a contract worth $250,000."
MTTN appearance, so typically feminine, Mary
Pickford gives to the romance of business
all of a man's response."
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89
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The Answer Man
(Continued from page 63)
married to Mary Hay, and that Richard
Dix has never been married at all.
Edith A. — So, you dont believe that I
am eighty some odd years old. Honest
Injun, Edith. Yes, I liked Jack Gilbert
in "The Merry Widow." Anna Q.
Nilsson is playing in ''The Masked
Woman." Tom Mix in "Western So-
ciety."
Mary S. — Why Marion Davies had a
birthday January 1, and she was born in
1898. You can reach her at Metro-Gold-
wyn-Mayer, Culver City, California. Yes,
Norma Talmadge may play in a story
based on the life of Gaby Deslys, the
French music hall actress, who died a few
years ago.
Tootsie from Indiana. — Oh, you al-
ways want to send twenty-five cents in
stamps when asking for a picture.
Peaches. — What word by changing one
letter becomes its opposite? United-Un-
tied. Greta Nissen is not married, and
she is to play on the stage in "The Palm
Beach Follies" for Ziegfeld. Larry Gray,
Clara Bow and Esther Ralston are play-
ing in "Kid Boots." Yes, Marion Davies
is to create on the screen the role that
Lady Diana Manners played on the stage
in "The Miracle." See you later.
Jean. — Thanks for the picture of your-
self. Very pretty.
Ivan H. — Xo, it's not fair. He that
cheateth in small things is a fool, but in
great things is a rogue. Ramon Novarro
is playing in "Bellamy the Magnificent."
Yes, Hope Hampton is in Paris where
she is starring in a colored film, "A
Marriage Under Louis the Fifteenth"
which is from the Dumas novel, but which
will be released under another title.
Berneici. — No, Cecil De Mille isn't
going to produce "The Deluge" after all
because it would conflict with Warner
Brothers' picture "Noah's Ark." Cullin
Landis is playing in "Then Came the
Woman."
Macduff. — Well, it's hard enough to
learn how to read, but harder still to
learn what to read. Corinne Griffith is
playing in "Ashes." She is five feet four
inches tall. So you think Valentino is
the only one who can play as Mrs. Hull's
sheiks.
Ann S. — Here you are. More than
4,000,000 people in Japan are listed as
wage earners, and Constantinople has
20,000 women industrial workers. So you
saw Mary Anderson in Cleveland. She
is not playing in pictures right now.
Kathrvn. — Yes, Georgia Hale in "The
Great Gatsby." Mary Astor has been
chosen as Milton Sills's leading lady in
"Men of the Night." Of course, I'm every
bit of eighty years old. You bet, I con-
sume bottles of buttermilk these warm
days.
Betty H. — Virginia Browne Faire was
TinkcrbcU in "Peter Pan."
Gertrude B. — Yes, indeed, there are
many large ranches in the Western United
States. Harry Carey has a ranch at
Saugus, California. Alyce Mills is play-
ing with Richard Dix in "The Quarter-
back." Mr. Dix chose her as his leading
woman because of her excellent work in
his previous picture "Say it again."
Claire G. — You are right, Claire.
Zak, Paris. — No, I have never been to
Paris, but wait, some day I'll be there. I
have seen one or two french films, where
the women all shrug their shoulders. You
can reach Pola Negri at the Famous
Players Studios, 1520 Vine Street, Los
Angeles, California. Write me again,
your letters are always so interesting.
Evelyn F. — Welcome to the throne.
The more the merrier. I like to hear
from my readers. Ben Lyon at First
National, 807 E. 175th Street, New York
City. Agnes Ayres is back in pictures
with Valentino in "The Son of the Sheik,"
a sequel to "The Sheik." Madge Bellamy
and Lou Tellcgen in "The Way Things
Happen."
R. B. — Clara Bow was born in 1905,
and she is playing in "Mantrap" and "Kid
Boots." Cecil De Mille is producing
"Young April," which includes Joseph
Schildkraut and Bessie Love.
Eva R. B. — You know, to err is human ;
to forgive unusual. Richard Dix at the
Famous Players Studios, Astoria, Long
Island. Where is the stamp you said you
were enclosing ?
Eva C. A.— See all the Little Evas.
You want to know if Jack Mulhall would
bother with a girl like you. Well now,
Eva, why dont you write to him at First
National Studio, 807 E. 175th Street, New
York City. Jack Alulhall played opposite
Blanche Sweet in "The Far Cry." Yes,
Famous Players-Lasky paid $40,000 for
the screen rights to "Naughty Cinderella"
for Pola Negri. It's to be released as
"Good and Naughty."
Yes, Mary and Doug are really going to
make a picture and I understand it will
be in eight reels. Each player is to have
a complete story for four reels and they
will then meet and the remaining part
of the film will be with the famous couple
co-starring. Yours until next month !
A Mule. — Take care, what a man desires,
he usually believes. Yes, H. B. Warner is
going to play the role of the Saviour in
Cecil De Mille's "Thirty Pieces of Silver."
Richard Dix was born July 18, 1894, and
he is not married. His last picture is
"The Quarterback." You refer to Joe
Cobb, the little fat boy in the "Our Gang
Comedies," and he is about eight. Tell
your Uncle he had better stay in Richirn .nJ.
Jos H. H. — That's what I say, a ripple
of laughter is worth a flood of tears.
Carlyle Blackwell is playing in Europe
righ now. I dont know what has happened
to June Elvidge. Hoot Gibson is playing
in "The Texas Streak."
Pal. — So you like William Boyd. He is
very popular right now. He is playing in
"Man of War." Richard Barthelmess is
playing in "The Amateur Gentleman" with
Dorothy Dunbar opposite.
Grace J. — You refer to Arthur Rankin
as J'asila in "The Volga Boatman." You
want Theodore Kosloff to have larger
parts. You will have to write to Cecil De
Mille. Belle Bennett is playing in "The
Fifth Commandment." Yes, Gertrude Olm-
stead and Robert Leonard were married,
also Elaine Hammerstein and Walter Hays.
Josephine D. P. — Lionel Barrymore and
Marceline Day will play in "The Mys-
terious Island," by Jules Verne. It will
be done entirely in technicolor, the action
to take place on earth, under sea, inside
the earth, and up in the air. Well, I can
see where they are not going to miss a
thing. Lars Hansen in "The Scarlet
Letter." Lillian Gish was born in 1896.
Renee Adoree is playing in "The Flaming
Forest."
John Cail. — You certainly ask about
some old timers. Kate Lester died October
12, 1924, and she was about seventy. Anna
Q. Nilsson and Lewis Stone are playing in
"Midnight Lovers" with John Roche and
Chester Conklin. Herbert Rawlinson in
"Conscience."
90
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Scenario Plots Wanted by IHr Companies. Our
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thousands of people each month, Some of these
advertisers 08e this section every month to
Increase their business. Write for rates to
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Street, Brooklyn, N. Y.
SHORT STORIES
Stories and Photoplay Ideas Wanted by 4H
companies; lug pay. Details free to beginners.
Producers' League, 441, St. Louis. Mo.
STAMPING NAMES
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VAUDEVILLE
GET ON THE STAGE. I tell you how! Per-
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LaDelle, Box 557, Los Angeles, Cal.
They Say—
witnessing certain hapj
pl.iv i I he |s».i revel in ihe siglil of the
little |s.ni girl coming into
nighl tin 11 some i.niiiii 'it ..I tin
tinniest clerk who president ol
the company which emploj a him I he
swain sns IihiimIi .is the pei iei i I
.mil the K-iukv maiden has hopes ..i
il.n becoming an equal ol the beautiful
heroine I hej all lee them
llli'lllelll .it le.ist, .is | inui who
i iscs from the mil i ind bettei
place m the world. I In rise ol the down
trodden and the happj ending still remain
the ke) to populai sue i esses.
She mentions Th ighan, Milton
Sills and Berl 1 > tell .is playei > who
the public what thej want. Thai is prob
abl) Hue in .in appreciable degree, bul
can I be expected to believe thai the
of Tli. mi. is Meighan are tru
Mosl ,ii them thai I can remei
ami t lu s are few, altho I have seen dozens
of them, seem iii smack ol Hoi ttio Alger
and his philosophy. I d" not deny the
success ni" these players from a box office
standpoint, bul I do deny their alleged
reputations as realists.
Miss Smith pictures Meighan as a gentle
caveman who fights and makes love in a
forceful and natural manner, as compared
in Valentino, whom she brands as wishy-
washy and describes him as a handsome
lover too perfect for this mundane life,
or rather that his strivings toward pi I
fection m love-making make for exaggera-
tion that is incompatible with everyday
life. To me the comparison is odious. It
is like comparing mules with race-horses.
Valentino has more natural gentleness
in his foot than Meighan has in his whole
makeup. lie epitomizes the instincts ..i a
gentleman. As for red-bloodedness, I think
that he possesses as much in quantity and
quality as Meighan, but simply does not
make public exhibition of it on every
slight pretext. Valentino can accomplish
more in the way of art with one gesture
than Meighan can by manipulating his
corporal body thru eight reels of film, to
my notion. I wonder if Miss Smith could
witness a performance of Valentino's
"Beaucaire" without saying, "Here is a man
who is an artist ; who can portray a red-
blooded fighting man who, at times, is
infinitely gentle."
Blakemore Hughes,
119-20 Union Turnpike,
Kew Gardens, Long Island.
Be sure to read the highly
absorbing articles about Holly-
wood's pel extravagances — and
the Hollywood of France
where Rex Ingram lias es-
tablished a studio and home.
There will also be a most
striking gallery display as well
a- several illuminating inter-
views— all in the September
Classic.
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91
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Picture Magazine are so witty — and he knows everything and every
body in pictures. I write to him often — and always receive a wonderful letter
from him.'''' Thousands of people know this dear old fellow, and his depart'
ment is one of the finest in any magazine.
For over fifteen years Motion Picture Magazine, the pioneer and the oldest
magazine of its kind, has fearlessly, accurately and authoritatively presented
the news of the great motion picture industry to the millions. Under the
experienced and able leadership of Eugene V. Brewster, its Editor-in-
Chief, it has become a powerful influence for all that is good and progressive
on the screen. The editorial staff are the leaders in their profession.
A clean, wholesome magazine for the entire family
MOTION PICTURE MAGAZINE
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92
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Face Pores Give Up Their Poisons
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AN
Men and Women Amazed as New Discovery
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To enable every one to try The Magic Milk Mask, we are making a
very special introductory offer. If you act at once, a full size package of
The Magic Milk Mask will be sent you direct from Maison Madeleine, jA
t
(Trade Mark applied for)
Read This Sensational
GUARANTEE
The Magic Milk Mask is abso-
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1 — to give a lovely, milk-white skin
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2 — to make your skin look younger.
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5 — to absorb the outer, dry, with-
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8 — to leave the skin velvety smooth,
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V>/-L^ I J X A Regular
Price $5
When your package of The Magic Milk Mask
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postage, in full payment, instead of 35.00,
which is the regular price. If, within 10 days,
you are not delighted with The Magic Milk
Mask, simply return what is left of it and your
money will be refunded at once.
As an extra inducement for promptness, you
will also receive, FREE, a package of wonder-
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whitens, softens and refines the skin.
Mail this coupon now. Don't miss the special intro-
ductory offer. Tomorrow may be too late — ^do it today!
The Magic Milk Mask will be sent to you in a plain sealed
package— no marks to indicate contents.
MAISON MADELEINE, Dept. C-69
Ninth and Spruce Sts., Philadelphia, Pa.
without any money in advance. Just mail the coupon — no money.
I j*Tj C? Lj1 A package of marvelous Lemon Bleach given to you
r XV rV.12/ absolutely free if you mail the coupon at once. Keeps
the skin soft, white and beautiful, banishes freckles and other discolora-
tions. You do not pay a penny for this wonderful Lemon Bleach now or
later. It is included FREE with The Magic Milk Mask if you act quickly.
THIS COUPON SAVES YOU $3.05
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Maison Madeleine, Dept. C-69,
9th and Spruce Sts., Philadelphia, Pa.
You may send me a $5.00 package of The Magic Milk Mask, for
which I will pay the postman only S1.95. plus postage. Although I
am benefitting by this specially reduced introductory price, I retain
the guaranteed privilege of returning the package within 10 days and
you agree to return my money if I am not delighted with results in
every way. I am to be the sole judge. Also include the Lemon
Bleach FREE.
City State.
If you wish, you may send S2 00 with the coupon and we will pay
postage.
^^g5^S*^^^^»^^
>="££*
MOTION /'/<'/, 'A'/
tL^y
0<D
Vol. XXIV
SEPTEMBER, 1926
No. 1
Notable Features in This Issue
II 1 MENCKEN BREAKS THE LONG SILENCE
rhe moat quoted man m America talk-, foi the Ural lime on the movlei
PICTURE, PICTURE WHO STOLE THE PICTURE
Charactei playen who carry ofl the hoaon tad worry thi
PAINTED PEOPLE
Beginnlni i
THE HOLLYWOOD OF FRANCE
Ret Ingram'! own motion picture kingdom
THE RISE OF THE LITTLE CINEMA
u \ \ i' i I beginning ol worth-while picture!
GREAT ATHLETES OF THE SCREEN
St. us who .Hi' breaking record! in iporu u weB as i ifflce
B. F. Wilson 16
Robert Donaldson 22
Fuith Service 25
Henry Albert Phillip* 32
Matthew Josephson 34
Hal K Wells 40
The Classic Gallery 11-15
i lee Joy. Harry Langdon, Marion Daviea, BUIii Dove and Pauline Starke
Hollywood's Pet Extravagances Richard Coyle 18-19
Favorite bobbies ol the Han
Three More Writers Indict the Films Henry Albert Phillips 20
The Impn I V. Lucas, Baroness Orcxy and Ford Madox Ford
A Yankee Lass on a Lark in London 24
Dorothy Gish In London, the city, and "London," the picture
Cella Lloyd Becomes Pleasingly Plump John Held, Jr. 28
trthei adventures ol Mr. Held'! bathing-girl heroine
Facing Death for a Laugh Scott Pierce 30
How the comedians n<k their lives in gathering thrills and laughs
Emotions You Have Missed Taskey 36
Ctric.it lire* showing how the directors make them emote
The Up-to-Date Old Timer Dunham Thorp 38
An interview in which \V. C. Fields tells how lie does his stuff
Lya de Putti (Portrait) 42
What It Costs to Be a Well-Dressed Sheik j.1 John Abbott 43
The equipment ol Rudolph Valentino's wardrobe
Impressions of Hollywood Eugene V. Brewster 44
Further comments on the activities of the stars on the Coast by the Editor-in-Chief
Reg the Regular Don Eddy 48
An interview with Reginald Denny
Betty Bronson (Portrait) 52
Adolphe the Elegant Gladys Hall 53
At: Impressionistic i*n picture of Mcnjou
Horses, Horses, Crazy Over Horses 56
The w. k. Prince and some film actresses on their noble steeds
Hale-Fellow-Well-Met Dunham Thorp 58
An Interview with Georgia Hale
Tannings and Faust 62
New pictures of the German star in Goethe's immortal tragedy
Fliv! and Let Fliv' 63
Some comedy conveyances that have seen belter days
The CLASSIC'S Famous Departments
Our Own News Camera
The incidents of the tih" world told in pictures
The Celluloid Critic
The new screen plays in review
Flash Backs L R.
45
Laurence Reid 50
54
Comments upon screen people and events
The Screen Observer Has Her Say Elizabeth Greer 60
Amusinc gossip of celluloidia
The Answer Man 64
Cover Portrait of Claire Windsor by Leo Kober, from a Photograph by Ruth Harriet Louise
LAURENCE REID, Editor
Adele Whitely Fletcher, Supervising Editor
Colin Cruikshank, Art Director
Classic comes out on the 12th of every month, Motion 1'ictuke Magazine the 1st
Subscription $2.50 per year, in advance, including postage, in the United States. Cuba. Mexico and Philippine Islands In Canada $3.00; Foreign
Countries $3.50 per year. Single copies 25 cents postage prepaid. United States Government stamps accepted. Subscribers must notify us at
once of any change in address, giving both old and new address.
Pi bushed Monthly by Brewster Publications. Inc.. at 18410 Jamaica Ave.. Jamaica, N. Y.
Entered at the Post Office at Jamaica, <V. Y., as second-class matter, under the act of March 3rd, 1879. Printed in U. S. A.
Eugene V. Brewster. President and Editor-in-Chief ; Duncan A. Dobie. Jr., Vice-President and Business Manatfr;
L. G. Conlon, Treasurer; E. M. Heinemann, Secretary.
EXECUTIVE and EDITORIAL OFFICES, 173 DUFFIELD ST., BROOKLYN, N. Y.
Hollywood Office, 6064 Selma Avenue. Phone Gladstone 35''*
Copyright. 1926, by Brewster Publications, Inc., in the United States and Great Britain.
Classics Late News Page
TTTALLACE BEERY and Raymond Hatton,
YY who contributed so much mirth to ''Behind
the Front" — are now making a companion
picture to the army story. The next appearance
of the character comics will be in "We're in the
Navy Now."
Ford Sterling, Lois Wilson and Louise Brooks
pleased their sponsors so well in "The Show Off,"
that they have been cast to play the principal
roles in "Love 'Em and Leave 'Em."
Following the completion of "Flesh and the
Devil," which Clarence Brown is directing, John
Gilbert will play the starring role in "The Day
of Souls."
Renee Adoree has returned to Hollywood to
play the leading feminine role in "The Flaming
Forest" — written, as you might expect, by James
Oliver Curwood.
Beatrice Lillie, the English musical comedy
comedienne and late star of "Chariot's Revue,"
has signed on the dotted line for Metro-Goldwyn.
She will make her screen debut under Sam Tay-
lor, the man who helped to direct Harold Lloyd
the past five years.
Roland West will produce a screen version of
"Two Years Before the Mast," by Richard H.
Dana. He intends to encircle the globe in gath-
ering the necessary backgrounds and atmosphere.
Mary Pickford is planning at least four more
pictures — which counteracts the impression in
certain quarters that after making a film with
Douglas Fairbanks she would go into retirement.
The star plans a comedy drama entitled "Cash,"
depicting the experiences of a cash girl in a five-
and-ten-cent store.
Larry Semon
has given up star-
dom to become a
director. He has
been signed by
Mack Sennett to
direct two - reel
comedies — i n
which Alice Day
and Eddie Quillan
will be featured.
The next pic-
ture in which
Shirley Mason will
start activities is
entitled "U p-
stream." Dolores
Del Rio, the Mex-
ican star, will be
in the cast.
Corinne Griffith
has purchased the
late Thomas Ince's
famous yacht,
"Edris." The star
is having the vessel
completely over-
hauled and fur-
nished, and under
its new appearance
it will be known as
"The Wanderlust."
Lewis Stone,
Doris Kenyon and
LAST MINUTE REVIEW
"Men of Steel"
AGAINST a most impressive background of steel mills — with
. molten metal serving as its piece de resistance, there is
revealed a compelling picture that carries sound logic in it. In
reality it presents a character study — a broad symbol being used
which projects the inarticulate, but forceful steel worker de-
termined to go thru the crucible of a refining process of his own.
The picture has a tremendous fascination. One doesn't
know what is coming, tho it is easy to anticipate many significant
dramatic happenings. It builds a compact narrative — which,
while involved, is followed easily enough because of its vivid
drama of men — and of the steel that molds them as well. The
background aids in emphasizing the characters of the plot. In
this background the eye catches giant cranes, roaring furnaces,
flaming ore, gigantic buckets and shovels. These are the
properties which give the film its significance.
The film gives Milton Sills his strongest role — one that even
eclipses what he had in "The Sea Hawk." And the actor gives
a virile, rugged performance, despite the fact that he becomes
too immaculate as the story develops. His metamorphosis is
too complete. Thus he misses the realities toward the finish.
Sills, however, makes you feel the urge in him to rise above
his surroundings. He performs a great self-sacrifice to save
the brother of his sweetheart — and runs away. And from this
point the narrative grips you with its convincing and moving
drama. Its vivid quality is emphasized thru its striking back-
grounds.
True, the idea becomes involved yet it is easily grasped — so
definitely drawn are the characters and situations. It releases
titanic drama — not only in the picturesque conquest of the
molten metal, but in the fires which burn in the hearts of men.
It offers life in the raw — life which gives much and takes little.
The acting is of a high caliber — with Doris Kenyon, Victor
McLaglen and George Fawcett doing especially well. L. R.
Tully Marshall have been signed for "The Blonde
Saint," an adaptation of Stephen Whitman's
novel, "The Isle of Life."
Louise Brooks and William Collier, Jr., have
been borrowed by First National from Famous
Players so as they might play two important roles
in "The Charleston Kid." Dorothy Mackaill and
Jack Mulhall will have the featured roles.
Betty Blythe has returned to New York from
a year's sojourn in Europe. While over there she
made two pictures, one being "She," an adapta-
tion of Sir Rider Haggard's great novel, and
"Jacob's Well," from Benoit's famous story. Miss
Blythe will continue her vaudeville tour until she
decides upon a suitable story for the screen.
By special arrangement recently made with
Warner Brothers, Patsy Ruth Miller is to be
limited to approximately forty weeks of screen
work during the coming year. Present plans
call for her to star in "The Third Degree" and
"What Happened to Father."
Buster Keaton's first full-length feature com-
edy under the stone-faced comedian's new con-
tract with United Artists, "The General," is now
being made in the open spaces of Oregon. Buster,
as usual, is directing his own picture.
The cast for the screen version of Harold Bell
Wright's best seller (2,000,000 copies — so the
statisticians have it), "The Winning of Barbara
Worth," is now complete. It comprises Ronald
Colman, Vilma Banky, Charles Lane, Clyde Cook,
Paul McAllister, E. J. Ratcliffe, Gary Cooper,
Erwin Connelly and Sam Blum.
Lois Weber, the only woman director of the
screen, who re-
cently completed
an excellent pic-
ture cf theatrical
life, "The Mar-
riage Clause," will
take the job of
finishing "Uncle
Tom's Cabin,"
work upon which
was held up thru
the illness of the
former director,
Harry Pollard.
Richard Dix is
tramping over
them thar hills in
Virginia and West
■ Virginia — prepara-
tory to taking up
strenuous work in
"The Quarter-
back" — a picture
of collegiate life.
Lloyd Hamilton,
the comedian
with the iron face,
is making eight
new comedies. In
the first he will be
seen as a seagoing
if _ _ u >>
gob." Bobby
Vernon will also
make eight — and
so will Al St, John.
6
Di Message
From E. W.Ham mons
75 the readers of
Motion Picture Classic
IF you were connected with the great motion
picture industry — if you were a star or a
director or a business executive — what
would be your greatest ambition? Would your
fondest dream be that some day you would be
responsible for the "biggest and grandest"
spectacle the screen had ever produced?
Perhaps on first thought you will quickly
answer "yes, of course." But that isn't my
chief ambition — and it never
has been. I'd like to tell
you why.
* * *
The motion picture industry,
in my opinion, has one function
to perform that is more impor-
tant than any other consideration
— to provide you and the rest of
the great picture -loving public
with consistently fine, wholesome
entertainment and amusement.
Of course, you want to see the
fine big feature spectacles. But
you also want to be sure that
whenever you care to spend an
evening at the "movies," you can
count on having a fine evening's
entertainment all through the
whole show.
And that's why it always has
been my chief ambition to have
Educa tional provide for you the
finest possible entertainment in
the comedies, novelties and other
ROMANCE PRODUCTIONS
HAMILTON COMEDIES
LUPINO LANE COMEDIES
BOBBY VERNON COMEDIES
JIMMIE ADAMS COMEDIES
BILLY DOOLEY COMEDIES
CHRISTIE COMEDIES
MERMAID COMEDIES
(Jack White Productions)
JUVENILE COMEDIES
TUXEDO COMEDIES CAMEO COMEDIES
LYMAN H. HOWE'S HODGE-PODGE
FELIX THE CAT CARTOONS
ROBERT C. BRUCE SCENIC NOVELTIES
CURIOSITIES LIFE
The Movie Side-show Cartoon Comedies
KINOGRAMS
The NEWS REEL Bu,lt Like a Newspaper
(T^cUu^vUartcd (f^ctuA^D
Short Features that make up "The Spice of the Pro-
gram." In the many years that Educational has
played a part in the motion picture industry, it has
never handled a long feature picture, and I'm mighty
proud of the fact that it has grown to its present
position among the leaders of the industry through
specializing in the briefer pictures that go to balance
the ideal picture program and that provide such a
large part of your film entertainment.
You have shown that you want — that you demand —
the finest entertainment all through the show ; and
that's why most of the country's
better theatres are showing
Educational Pictures today.
That's also the reason why the
Greater Movie Season that ii
just beginning will bring to the
screen for your entertainment a
still bigger and finer group cf
Educational Pictures.
THE SPICE OFTHE PROGRAM"
EDUCATIONAL FILM EXCHANGES, INC.
E. W. Hammons, President
Executive Offices, 370 Seventh Ave.. New York, N. Y.
Your favorite theatres can tell
you what Short Features they
are going to show as well as
which longer feature. And if
you'll consider them all in de-
ciding "where to go," you'll find
that you get more consistent en-
joyment out of your movie eve-
nings. Ycu'll be impressed by the
beauty and story value of the
Romance Productions in natural
colore , such as "TheVision. "You'll
always get a hearty laugh out of
any of Educational' s comedies
or cartoons. Any program is a
better show that includes some of
the Short Features that make
up "The Spice of the Program."
THEY SAY
FIRST PRIZE
Fair Play for "The Big Parade"
EDITOR, CLASSIC:
I am English. I love my country.
But, above all, I love truth and fair
play.
I went to the premiere of "The Big
Parade" in London on May 21st, and never
have I heard anything to equal the spon-
taneous and enthusiastic applause which
greeted this superb masterpiece. The next
day a large section of the most widely
read newspapers had headlines to this
effect :
"America wins the war — on the films."
"Not a British soldier seen in America's
version of the war," etc., etc.
These criticisms were most unfair and
prejudiced, and gave a totally false idea of
the picture, and have prevented many
people going to see it and judging for
themselves.
There arc no British soldiers in the pic-
ture. Why should there be? It is an
American film ; war episodes as seen thru
the eyes of an American doughboy. It
distinctly states in the foreword that his
experiences might have been those of a
soldier of any other nationality. One Eng-
lish newspaper. The Daily Sketch, wrote
of it : "It is an international picture, no
more American than any other great work
of art."
The following is an extract from a
letter I wrote to The Sunday Herald, which,
amongst other things, had criticised the
behavior of the men in billets :
"United States and War Films
"With reference to your film critic's
comments on 'The Big Parade,' I should
like to state that during the last eight
years I have seen a large number of Brit-
ish war films and do not recollect in one
of them that American troops were even
remotely referred to.
"In two plays the French were men-
tioned. Had America seen the British
film, 'The Better 'Ole,' they would have
concluded that our 'Tommies' were a set
of low comedians, whose time
was entirely taken up by drink-
ing and kissing French girls,
for they did practically nothing
else. This film was not re-
deemed by either fine direction
or acting.
"D. G. Shore."
because the producer was jealous of his
own country's exploits."
The English are not what a certain sec-
tion of the press would have the world
believe. We are a generous people, and I
know many who have seen "The Big Pa-
rade" and have come away with the ten-
derest feelings of gratitude and affection
for the happy-go-lucky doughboys who
came over to join in the "great adventure."
A British Army officer, who had a great
deal to do with the Americans in France
during the war, said their fearlessness
was wonderful.
I am sure that the abolition of war and
the world's peace lie in the hands of
America and Great Britain, and I, for one,
earnestly desire a better understanding be-
tween the two countries. There must be
mutual generosity, a truce to petty spite
and jealousy. I have lived in America and
love it and the Americans, and I found
that so much of the foolish prejudices that
people of one nationality have towards
another simply arise from a want of
proper understanding.
Owing to the almost moribund condition
of the film industry over here, it has not
been possible for Americans to see pictures
representing real English life and charac-
teristics (which may have something to
do with the constant re-appearance on the
American screen, of that curious creature
— the monocled, mincing Englishman — in
spite of Ronald Colman!).
A big movement has now started in
order to better conditions and revive the
industry, and huge studios are being built.
I hope America will give our pictures
of English life a fair showing.
All art, all beauty should be interna-
tional— universal. Each country should
give of her best. The great new art of
living pictures ought to be the means of
uniting, not of disuniting nations. The
movies should be the "entente cordiale" of
the world.
Dorothy Grace Shore,
11, Drayton Gardens,
So. Kensington,
London, S. W., England.
"The Big Parade" is a su-
preme work of art, in spite of
the extremely simple and con-
ventional story and certain "he-
roics" which, perhaps, slightly
mar the latter half of the pic-
ture.
I have seen hundreds of
moz'ing pictures, but this is the
first living picture. The acting-
reaches such heights that it
ceases to be acting ; it becomes
life, real, surging, pulsating.
The film critic in The Morn-
ing Post wrote, with justice :
"We should not condemn a
wonderful piece of stagecraft
The MOTION PICTURE CLASSIC is devot-
ing a page each month to the best letters from
its readers. The prize-winning letters for the
August number are reproduced on this page.
Fifteen dollars will be paid each month for
the best letter, ten dollars for the second and
five dollars for the third. If two or more let-
ters are found of equal merit, the full prize
will go to each writer.
Letters must be constructive and interest-
ing. They must deal with pictures or screen
personalities. And — please note — they should
be typewritten.
SECOND PRIZE
For the Foreign Girls and the Native
Sons
Editor, Classic :
Since this department is for the benefit
of Classic readers in which to expnss
their opinions, I cant refrain from having
my little "say so."
Being first and foremost for all things
American, it is hard for me to feel com-
pelled to say that the foreign actresses
have it all over our own players. Unde-
niably our leading ladies are the more
beautiful, but who among them can com-
pare with the Pola Xegri of "Passion" and
"Gypsy Blood." Mme. Xegri has never
been given an opportunity by American
directors, or by Famous Players. She
was interesting in "Good and Xaughty,"
but Pola Xegri is in no wise the come-
dienne. I should like to see her, not
Raquel Meller, as the Empress Josephine
to Charles Chaplin's Xapoleon.
Then there is Greta Garbo, who, because
of her interesting and colorful portrayal
in "The Torrent," should be among the
most popular players. Xot one of our
American leading ladies could so subtly
express the various emotions as Greta
does. And it is gratifying to know that
she has so able a director as Xiblo for
her second American picture and so charm-
ing and romantic a leading man as Antonio
Moreno.
I must not forget to mention Greta Xis-
sen here. She has had but one real op-
portunity, in "The Wanderer," a part so
unsympathetic as to cause her to lose,
rather than gain, admirers, so set are we
on having all our heroines of the saccha-
rine variety, in sugar-coated roles. It is
no wonder that Greta Xissen has deserted
us for Ziegfeld and the stage.
Perhaps I've seemed too partial to the
European players, but the readers of this
letter who do not agree with me will
forgive me when I say that my vote goes
to the American leading men, unanimously,
as against the Xovarros, Valentinos and
De Roches. They are not to be compared
with Gilbert. Dix, Haines,
Lloyd and the incomparable
Wally Reid.
Who on the screen today is
there to take Wally's place, and
who ever will? His death left
a void in all our hearts, one that
will never be filled.
John Gilbert deserves a place
in the Hall of Fame for his
James Appcrson in "The Big
Parade" and his Danilo in
"The Merry Widow." Who
can deny Gilbert's ability after
seeing him so ably portray two
so diversified roles? I was
very happy when I learned that
Jack and Greta Garbo will play-
together — that should be a pic-
ture, and Von Stroheim should
direct it.
Richard Dix's Indian of "The
Vanishing American" was fine.
but I like him best in his lighter
type of picture — "Take a
{Continued on page 90)
8
On the screen or off, there's a healthy, robust
charm about Leatrice Joy. Hers is a frank,
friendly nature which makes her personality
glow. With quick, flashing eyes and warm,
readv smile she fans the embers of romance
in us all
MOTION PICTURE
(^LASSIC
SEPTEMBER. 1926
- v I* ' ' 1 ■ '
HARRY LANGDON
He's traveled many roads — has Harry Langdon, roads that led from Nowhere into
Nowhere. But while he traveled he observed and jotted down the impressions in his
mental note-book. That's why he has arrived with a thoro knowledge of pantomime —
and that's why he is easily one of the finished artists of the screen
MARION DAVIES
It took a gay masquerade — a bit of blarney as a broth of a boy to bring out the best
in Marion Davies. She conquered so easily and surely with her hoydenish whims that
all the wiseacres and makers of stars proclaimed "it's a gift"
. Ml ,-^- -. ■ ■■ ■MHRBM ■ I
BILLIE DOVE
The mistress of the close-up — that's Billie Dove. Some cameras come too close to
several stars, but Billie's beauty is the photographer's delight. When you see "The
Marriage Clause," you will appreciate not only the close-ups, but also the emotional
triumph of her career
Mull
PAULINE STARKE
The perils of Pauline are over. Time was a few seasons ago when the assurance that
comes with experience and success was missing. Now she has blqssomed into one of
the most beautiful buds of the Hollywood garden — and she has' perfect poise and
eloquent emotions, to boot
H. L. MENCKEN
The Most Quoted Man in America
LARGE, bitter and
copious were the
tears shed by the
writer during the en-
tire time spent in
listening to Mr.
Mencken the other
afternoon. This is not
a sob story, but we
fairly groaned for a
dictophone to record
what he said ver-
batim, for only in this
manner could full
justice be given to the
interview.
No other man of
our acquaintance or
hearsay can even ap-
proach him in bril-
liancy of conversa-
tion. The picturesque
phraseology, the
glancing, gleaming
flashes of wit, the
originality of thought
and word, and the
deep, underlying cur-
rent of humor fas-
cinate the listener to
the point of hypnosis.
The customary grave
expression of his face,
belied by the twinkle
of the bright blue eye,
completely puzzles you
as to whether, or
when, he is speaking
seriously. When he
finally gets launched
on a subject, he
handles it in the same
fashion a fox-terrier
plays with a bone : he
harries, he worries it ;
tosses it up in the air,
and catches it deftly
on the rebound ;
gnaws it, and tears it
at the end into such minute pieces that not the faintest
suspicion of the original idea remains.
Breaks the Long Silence
hen he got thru talking about the movies, we felt
as tho no one had ever even thought of the subject
before. Not that it was easy to make him discuss the
motion picture question. Far from it ! For some reason
or other he has always carefully avoided giving voice to
his opinions on the subject. We have had Mencken on
Music ; Mencken on Art ; Mencken on Prohibition ; on
Politics ; on Women, Wine and Song ; Mencken on Evo-
lution (will you ever forget it?) ; Mencken on War. and
16
By B. F. Wilson
Caricature of Mencken by Leo Kober
w
on Peace ; Mencken
on Freedom of
Speech and Deed —
and of course
Mencken on Litera-
ture, but never, des-
pite golden offers
from eager editors,
has he uttered or ex-
pressed a word about
the movies.
When I mentioned
the subject :
"Flapdoodlery," he
replied.
I had to use tactics
which would have
made Ambassador
Hughes bow his head
in homage, or Peggy
Hopkins squirm with
envy, before he would
pay attention to the
sincerity of my re-
quest.
"Have you ever
been to a movie?" I
demanded.
"How's the weather
in Atlantic City?" he
replied.
"Will you please
answer my question?"
I was stern.
"Did you know that
Cleopatra was knock-
kneed ; that Homer
was cock-eyed, and
that Caesar suffered
from stomach
trouble?" he queried
with great interest.
I grew subtle.
"Nize Baby," I
purred. "Tell momma
about de movies, and
momma will give you
some nize beer mit
pretzels."
I had him. I could tell by the rapt look on his face.
"Whatthehell do you want to know ?" he inquired gently.
"Have you ever been to a movie?" I repeated, and he
could tell from my expression that the "No Fooling" sign
was out.
Recalls Two Masterpieces
"T have been to a few," he replied. "Perhaps half a
dozen in all. I can recall from them only two — 'The
Last Laugh' and 'The Big Parade.' I thought them both
very entertaining. I know nothing of the ordinary run of
romantic movies, made for the rabble."
He sank back into his chair with the well-known "clos-
Breaks the Long Silence
Talks for the First Time on the Movies
ing the interview" look on his face. He was polite, l>ut I
had known him long enough to ^r«'t over that, bo 1 hinted
that he had merely started to talk, nol finished.
"What do you think of the movies as an uplifting in-
fluence oh the rabble, as you bo sweetly put it'" I
demanded.
"Win should they be uplifted?" he asked with the
slightest elevation OX his left eyebrow. You know, the
"What are Yonkers?" expression.
"If the rabble likes them as they are. why change
them?" He questioned, and I could see that his point
w a> a good one.
"I believe that people have a right to ainuse themselves
as they please," he added.
"How do you like my suit? Pretty good, eh, for
seventeen-fifty ? I buy all my clothes ready-made; order
as many as three suits at a time thru the Sears and Roe-
buck catalog: you know, one for each season so when I
get them all at once, I dont have to worry about them
when the time comes to change."
"Wait a minute," I interrupted. "Please now! Stop
your nonsense. This is serious. I want you to talk and
say something when you talk, that I can write up as com-
ing from you on a subject of vast importance. Please be
serious for a few moments. After that, we'll talk on
anything you like."
"All right." he said contritely. "I know what this
means to you. what else do you want to know?"
Why Look for Literature?
"Pvo you see the importance of literature in the movies?'
"No. I dont see any necessary conne
the movies and literature,
movie may have some liter-
ary quality, but it is surely
not likely. But why should
it have?" He was quite in
earnest now. and as I knew
from past experience, the
symptoms of his being
fairly launched. I carefully
restrained the sigh of relief
which begged for utterance.
"Some of the most amus-
ing plays that are acted on
the stage have no literary
quality whatsoever." he
continued. "I am strongly
against the doctrine that
anything that is not literary
should be put down by the
police. Let the police at-
tend to their proper busi-
ness of protecting saloon-
keepers against prohibition
agents."
Most of my readers will
recall the recent run-in Mr.
Mencken . had with the
police on this very subject
up in Boston. The press
made a six-foot head-liner
connection between
It is conceivable that a given
Says Mr. Mencken:
"As most of us know, the ordi-
nary run of romantic movies are
made for the rabble.
"If the rabble likes them as
they are, why change them? I
believe that people have a right
to amuse themselves as they
please.
"I don't see any connection
between the movies and literature. It is
conceivable that a given movie may have
some literary quality, but it is surely not
likely.
"Most of the complaints about the morals
of the movies come from professional smut-
snufflers — who are looking for jobs."
"Some of the movie people get too much
money and carry on like American business
men at a trade convention, but the majority
of them are hard-working people, and take
their work very seriously.
"An actor, like any other man, is worth
whatever he can earn for his employer."
of the story for days. As 1 1 it- editor of I he American
MtTCUry, the sale of which had In en prohibited, he went
Up to Boston and personally sold a Cbpy. I I -mie
up in COUrt, and 01 COUrse, was dismissed : the jud^'e find
ing no reason for the suppression of tin- magazine. It was
afterwards disclosed that because Mr. Mem. ken had pub-
lished an article on the self-appointed vice-crusader*.
seeking notoriety by supposedly Cleaning up American
literature, and in the article naming the chief n
that it was this self same reformer who had ordered the
sale of the magazine stopped.
But to get hack to our subject.
"What do you think of the morals of the movies?" I
asked, knowing how he felt on all bigotry and ignorant
reformation.
"I dont know, anything about them." he answered. "Put
I do know many intelligent and decent people who go to
see them often, and from these people I have never heard
any complaint about their immorality."
He chewed the end of his cigar reflectively.
Loose Leeches of Lewdness
"Vou know, dont you, that such complaints come only
from professional Suiut-snnfflers, most of them look
ing for jobs. The fact makes me suspicious. I find it
hard to take such Snuit-snuffiers seriously. They are the
ones that are always raising a hullabaloo about nothing.
These doodlesockers are constantly making it known thru
the yellow sheets that seeing a young fellow kiss his gal
tills them with an uncontrollable sexual libido. I can only
say that the spec-
tacle has no such
effect upon me,
nor upon anyone
I know.
"All the people
that read these
yellow sheets get
het up over the
fact that they are
being tempted,
altho they would
never have known
it unless it had
been pointed out
to them. The poor dam-
fools haven't got sense
enough to give these rotters
a good swift kick in their
little August. But anybody
with any intelligence what-
soever, would laugh him-
self sick at the idea of five
feet or twenty-five feet, or
whatever it is, of celluloid
film showing a gal and a
man in a clinch, affecting
him to the point of indecent
desire."
"What do you think of
all this Hollywood business ?
( Continued on page 81 )
17
Hollywood's Pet
The So- Called Human Race Has Its Little
Weaknesses. All of Us Are Faithful to
Our Foibles — and Among the Most Faith-
ful Is the Celluloid Circle On the Coast.
So It's Everyone to His Taste In Riding
a Favorite Hobby
By Richard Coyle
EVERY human being who is old
enough to have learned that the
thumb is not really to be taken
seriously as an article of food has
a pet foible, an amiable little weak-
ness, a bizarre little trait in an
otherwise perfectly safe-and-sane
character — or, in short, a pet
extravagance.
Elmer Fryer
On th% left is Syd Chaplin
who has a weakness for avia-
tion. Having been a veteran
pilot, he is deeply interested
in intricate little model planes
and their big brothers. Below
is Ruth Clifford keeping
company with three of her
forty-seven dolls. It's her
pet extravagance
?.,hn Ellis
This pet extravagance is not neces
sarily a hobby or a recreation, tho it
may be closely allied with either
or both. Nor does it neces-
sarily demand extravagance
in a financial way. It
is a foible that even
the Scotch may
have, and usu-
ally do.
John Ellis
John Barrymore has an expensive
craving for books. In his library is
a really fine collection of rare old
first editions — and he burns much
midnight oil in reading them. One
of the pet "hobbyists ' is Priscilla
Dean, on the left — who goes in for
all types of dolls
For its extravagance may consist
merely in its lavish demands
upon the time and attention of
its owner.
It manifests itself in as many
different ways as there are dif-
ferent quirks of personality in
mankind. With one individual
it may consist of a passionate
fondness for highly expensive
silk neckties of a general color
scheme that would drive a
Siwash Indian into a delirious
ecstacy of envy. With another,
it may be a fatal weakness for
the ghastly hodge-podge of an auction
sale.
Its manifestations may be as weirdly
incongruous as an Eskimo in a straw hat.
A meekly inoffensive little mouse
of a man may go without his lunch
in order to satisfy his yearning for
lurid volumes of piratical lore,
while, on the other hand, Horrible
Harvey of the Gashouse Gang may
18
EXTRAVAGANCES
have an insatiable secret craving foi
chocolat< covered peanut bai i
Being Human, They Have Hobbies
i_i "M \ w ood, being full of reason
n ably normal human beings, in spite
ot occasional propaganda oi the yel-
low press to the contrary, it naturally
follows that Hollywood is full of pet
extravagances. And, players usually
being rather colorful folk, it is only
natural that their |x.-t foibles should
be colorful above the average.
Not that these foibles are quite SO
bizarre as they have sometimes been
painted by over-zealous press-agents.
If half the publicity yarns along this
line were true, Hollywood would of
necessity he peopled with equal parts
of lunatics, kleptomaniacs, and zoo
keepers. I have heard it
claimed that various pla)
ers had weaknesses for
everything from
original Rem-
brandts to blue-
nosed baboons.
( me hard-work-
ing press-agent
even spent half
an afternoon
once trying to
convince me
that the favorite
recreation of one
of his clients was
putting a small herd
of trained eels thru
their tricks.
All of which is not only
a finely assorted lot of
bunk, but rather foolish as
well. Because the real pet
foibles of some of our lead-
ing players are interesting
enough in actuality without
adding any imaginative gar-
nishes. Giving as they do,
such unique and intimate side-
lights upon the real tastes and
characters of screen favorites,
to me these little pet extrava-
gances have always been one
of the most interesting minor
phases of life in the Film
Colony.
They range literally from
patent cigaret-lighters to fleets
of high-powered and equally
high-priced automobiles.
Another Hollywood doll devo-
tee is Claire Windsor — who has
a really exquisite collection
from all nations. She dresses
them up in bizarre costumes
and whiles away rainy days in
showing them a good time
111 !MH
ir ii "
At the top is a corner of Louise Fazenda's library. She
is a genuine book-collector, and is an inveterate follower
of all the auctions in the book-shops. In the circles from
left to right are Lilyan Tashman and Helene Chadwick.
Lilyan admits a weakness for French perfumes — and
Helene's hobby is fur coats. She boasts an expensive
collection
Among the Collections
\x/ii li am Boyd i- the of
*" the cigaret-lighter complex At
a consei vative estimate, Bill has
bought at least forty of the p
things so far this year
si/e. ever) material, and • ape,
the) have had just one tiling in com
niou, an utter failure to continue
functioning after the second day.
Bill is --till hoping, however, and still
searching for his goal, a cigaret-
lighter that will really light, and keep
on lighting.
Automobiles are Tom Mix's pet
extravagance. Ami Tom's present
fleet of aristocratic cars is one to
stitute a real extravagance, even to a
gentleman whose monthly pay check
reads like the national debt
of Nicaragua.
Here is the list,
as nearly as I
can remember it
offhand : — one
Dusenberg road-
ster, one Rolls-
Royce touring
car, one Loco-
mobile limou-
sine, one Buick
sedan, and two
Packard limou-
sines. Consider-
ing that the com-
bined list price- of
these cars approximate
the fort v-thousand-dollar
mark, it will readily be
granted that Tom's pet ex-
travagance is one worthy
the name. At
that, I may
(Continued on
19
Three More Writers
Brown Bros.
E. V. Lucas
Baroness Orczy
Courtesy of Ceo. H. Doran
By Henry Albert Phillips
C7 V. LUCAS, one of the editors of Punch, the
humorous weekly, is an author easy to
know. And you can see the man just as he is if
you will read any one of the many books he has
written — some of his "Wanderer" books, for
instance : "A Wanderer in Paris," "A Wan-
derer in Rome," and so on.
If you dont know Punch, then you should
meet him, too, at any cosmopolitan news-stand
and take him home, for a quarter, I think it is in
America. His pages reflect Mr. Lucas perfectly.
Finally, Mr. Lucas is managing director of
one of London's biggest and oldest publishing
houses, Methuen & Co., and there I met him.
"I write because I like writing and I never
write about anything I am not enthusiastic
about," said Mr. Lucas somewhere along in the
conversation.
I think those few words express more nearly
what should be a writers creed than any others
I have ever read or heard.
"I never pretend to be exhaustive, but I make
it a point never to become exhausting."
But you get the idea from those two expres-
sions of the sort of man Lucas is and the kind
of thing he writes.
(Continued
20
T>ARONESS ORCZY (pronounced Ortsee)
-L^ is the author of "The Scarlet Pimpernel" —
considered one of the best sellers in the world,
a book that has sold five million copies in about
twenty years — at the rate of two hundred and
fifty thousand copies a year !
Here is an ideal story for the motion pictures
and yet it has never been presented in the films.
And the reason, in part, for its non-production
and thus denying to the cinema world one of
the most intriguing, thrilling and picturesque
stories, is to be found in my preamble. Among
other things, the Baroness feels a lack of confi-
dence in the ability of scenarist and director
to render with perfect fidelity the story that is so
near her heart. She acknowledges her own in-
ability to aid them further than submitting the
story *as is.
"We have been offered all sorts of money for
The Scarlet Pimpernel,' " she told me. "Peri-
odically, someone from the films comes along
with a new offer. I have my ideas why I would
not yet perhaps sell it, but I am not the sole
owner of the rights, outside book rights. Fred
Terry, the actor, is my partner in dramatic and
other rights and has the idea that a film presen-
on j>age 11}
Indict the Films
r-
"The films are not good enough. With
all the money and other kind of wealth
expended on them they should be in-
finitely better. The best thing they do is
the supernatural — they are the link be-
tween poor inadequate human nature and
magic." — E. V. Lucas.
"I have my own ideas why I would
not sell 'The Scarlet Pimpernel' to the
movies. My partner has the idea that
film presentation would smash the play.
The plot is so complicated and the at-
mosphere so essential." — Baroness
Orczy.
"I just haven't any ideas on the films.
I find most of them extraordinarily non-
sensical— and still go to see them some-
times."— Ford Madox Ford.
Courtesy of Albert and Charln Bom
Ford Madox Ford
The Fifth of a Series of Talks About Motion Pictures
With Famous English and Continental Writers
TT is a wise fiction father who knows his own
•*" movie child.
And the more I see of Great Writers and hear
them talk about the terrible things that happen
to their brain children, in the cruel screen world,
the more I wonder why they trust their sacred
things to the care' of roving bands of gypsies —
as they seem. to consider the cinema in general.
They are like those mothers who desert their
babies in dark hallways and then turn up to
claim them and wail over them when they have
been adopted by wealthy persons who shower a
fortune on them.
One of the bitterest defamers of the movies
that I know, and their ill-treatment of the novel-
ist is one whose book did not go at all well, net-
ting him not more than $4,000. A motion pic;
ture company paid' him $20,000 for the picture
rights. A clever scenarist made a silk purse
out of a sow s ear, literally, for the story on the
screen was infinitely better than that in the
book from which it had been taken — and was
different, of course. Hence the wail of the
novelist.
In the great majority of cases, the novelist
makes more from his picture rights than he does
(Continued
TJORD MADOX FORD is the author of that
remarkable book, "No More Parades, which
was adjudged the finest novel of the year by
several of the leading book reviews.
He lives in Paris in a quaint studio on Rue
Notre Dame des Champs, just behind the house
in which Balzac once lived and wrote. By good
fortune, my pension happened to be almost
opposite his studio, so it was an easy matter to
drop in. He took me up a rickety stair to a
cubby-hole where he said he did most of his
writing.
"No," he smiled, when I asked him, I just
haven't any ideas on the films. I find most of
them extraordinarily nonsensical.
"But you do go to see them?' I persisted on
top of his condemnation.
"Yes. I suppose everyone must go to see
them sometimes. Oh, yes, I did go to three
bull-fights and two films in one week down in the
south of France last summer.
Bull-fights and films! There s a new one.
Ford Madox Ford puts them on a par, only he
places bull-fights first.
We talked all around the films after that, for
he did not want to be caught associating with
on fiage 77)
21
PICTURE, PICTURE
By
Robert
Donaldson
Jean Hersholt and Ernest
Torrence walked away with
the acting honors in "Greed"
and "The Covered Wagon"
THE question is — how do they steal it ?
Picture-stealing is rapidly becoming an eighth art,
and one which adds spice to the business of going to
the movies. Frequently it is the method by which a new
star is whirled into the firmament of filmdom.
Picture-stealing is always eagerly watched both by
critics and theatergoers because it partakes of the element
of chance, of the unexpected.
One reads the advance notices and advertisements of
a movie. Various well-known players are featured, and
everything seems according to Hoyle thruout. Yet when
one attends the picture, it is obvious — obvious to the veriest
dub in the audience — that some unknown, or some minor
player, whose name is frequently not even mentioned in
the billing — has walked away with the show, has made
the impression which is the most lasting on the minds of
the audience. Not always is it a newcomer who steals a
picture. Often it is a character actor with a relatively
small part compared to that of tbe hero and the heroine.
Such a player very frequently (in the parlance of the
film business) just "rolls up the picture and puts it in his
vest pocket."
How do they do it ? How is a picture stolen ?
The writer decided that the best way to discover the
technique was to go to some of the notorious picture-
stealers in the business.
Not infrequently producers put a confirmed picture-
stealer in a cast just to pep things up and spur the other
members of the cast to greater effort.
His Back to the Camera !
One of the classics of Hollywood is the tale of how
Andre de Beranger, with his back to the camera, stole
trie final scene of "Grounds for Divorce" from Owen
Moore and Harry Myers, to whom (the latter two) the
scene was supposed to go, and who dont love a camera
lens any more than they love their own mothers.
The final scene of the picture featured Beranger, Myers
and Moore. Each of the three was trying to take this
scene by sheer force of acting, and the battle was one of
wit, cleverness, and quick-thinking.
When the fade-out scene came, the honors were about
even. Paul Bern, the director, arranged the grouping for
the fade-out. And he placed Beranger with his back to
the camera !
Moore and Myers chuckled. Beranger, they figured,
was out of it. But they reckoned without the swift-
thinking cleverness of a real trouper.
Andre de Beranger stole
"Grounds for Divorce"
Roy D'Arcy stole "The
Merry Widow"
Adolphe Menjou stole "A
Woman of Paris"
22
Who Stole the Picture?
The Pastime of Stealing the
Picture Is Indulged In On
Many Occasions. While the
Star Has the Principal Role,
It Is Often a Minor Player or
Some Gifted Character Actor
Who Makes the Most Last-
ing Impression and Walks
Away With the Show
Drawings by
George Annand
W.ilUi.e Beery almost stole
"Robin Hood" away from
Douglas Fairbanks
Vs the cameras started to grind, Moore tugged at his
coat lapel and Myers tugged at his mustache. And
Beranger was left the opportunity to "emote" with the
broad of his hack !
But Beranger had a pair of white gloves. He clasped
these hehind his back, and as the scene began to fade out
he waved them up and down.
And because they were the whitest thing in the scene,
they remained visible longer than anything else — after
Myers1 mustache and Moore's lapel had been obliterated
by the encircling darkness !
An Old Timer At It
Qne of the most brilliant attempts at picture-stealing in
^ recent years occurred in "Robin Hood.'- This was a
Douglas Fairbanks production from start to finish. All
the other characters were supposed to he incidental.
And yet — who doesn't remember Wallace Beery as
King Richard I? — Richard the Lion-Hearted, seated in
his immense palace gnawing lustily on a leg of mutton,
and hurling the bone to his henchmen?
It was a great performance, one that will be long re-
membered. And yet Beery 's footage in "Robin Hood"
was very small compared to Doug's Beer) worked
and cleverly, hut he didn't quite make the grade, largely
for the reason that Doug held the final scissors on the
negative when it went to the cutting-room.
"The part of King Richard was the easiest one I have
ever played." Wallace told me. "It was a cinch. It sim-
ply couldn't fail. 1 have played much harder parts, put a
good deal more into them, and made a great deal smaller
impression when it was all over with." And yet one can-
not imagine anyone but Beery in the part !
There Are Women in the Game
A mo.nc. the women, picture-stealing seems to be less fre-
quent. Yet it does occur.
For instance, Louise Dresser very nearly walk- off with
every picture in which she appears. Very little grass has
grown under her feet of late in the picture world. < )ne
recalls "The Goose Woman" especially. And her work
in Victor Fleming's "The Blind Goddess" and Allan
Dwan's "Padlocked" is superb. In both pictures she very
nearly "wraps up the show and puts it in her pocket" —
presuming that women at least have pockets for this
purpose. {Continued on page 65 i
\
Paul Kelly stole "The New
Klondyke"
Louise Dresser stole "The
Blind Goddess"
George Bancroft stole "The
Pony Express"
23
A Yankee Lass
on a Lark in
LONDON
The younger Gish, whom
we all know as Dorothy,
is back in London hav-
ing the time of her
young life. The English
countryside can be en-
joyed even in the big,
bustling city — which ac-
counts for Dorothy reg-
istering 'igh 'appiness
while punting on the
Thames
Dorothy went over to London town to make
"Nell Gwyn" — and she sold her personality so
well to the Britishers that they asked her to
visit them again. Hence her return to the
snug little isle. When Dorothy is not in the
studio where she is busy making "London" —
a story of Limehouse by Thomas Burke — in
which Adelqui Miller, a Chilean actor, is her
leading man, she is usually boating or strolling
around a bit with her wire-haired terriers
Photos Abbe, London
24
Jonquil had among her hazier memories of her mother, visions of her tulle and butterfly wings, a golden Columbine, or
again as a languid Juliet — or as the dismal Camille dismally expiring in her best nightgown
PAINTED PEOPLE
- By Faith Service
Illustrated by Douglas Ryan
SHE hated it ! She
loathed and de-
tested it ! She
shrank -from it as tho
it were some actual,
tangible thing afflicting
her very flesh.
She felt that it had
ruined her mother's
With this issue, Classic introduces its new serial in six
parts. Faith Service, the author, has written a fascinating
romance of the stage and screen — the make-believe world
that conquers its people with hopes and illusions. With
a keen knowledge of the background of theatrical life,
the author places her young heroine against it — and makes
her shift for herself.
life, sullied her father-
life, crushed and de-
prived her own life.
Grease paint and all
that it stood for . . .
tawdry painted scenes
and tawdry, painted
people . . . sick am-
bitions and fainting
25
A Story of the Footlights and Kleigs
hopes . . . dreary little towns and being "stranded" . . .
Grease paint!
The smell of it . . . the stench . . . the cheap people
. . . the silly simulations . . . the gritty hotels . . . the
unrinsed bed linen . . . the rough-dried wash . . . the
homelcssness. . . .
Oh, how could anyone say they "loved" it? How could
old actresses, cracked and bent-looking, come back-stage
to revisit scenes that now seemed to them scenes of van-
ished triumphs? How could they stand in the dusty
malodorous wings and seem to grow young again before
your very eyes. You could actually see them do it. You
could see their shriveled shoulders, their lean breasts
swell into fluence, their lack-lustre eyes sparkle and shine
. . . before your watching, fascinated eyes they were
Camille again . . . they were Rosalind . . . Trina . . .
Fragoletta . . . women ravishing and real ... They
breathed in the grease paint and lo, from their shriveled
bodies there stepped a galaxy of
fair forgotten women. . . .
She would never be like that
. . . never be one of them .
she hated it . . . all of it . .
had poisoned her. . . .
Old men, too . . . she
had seen and heard old
men . . . watched them
straighten their autumn-
leaf shoulders, tell hoarse
bravado stories about
"the days when I was
young" . . . they, too,
were Ronieos, Orlandos,
Don Juans. ...
It was funny . . . Jon-
quil didn't understand.
She felt that she never
would.
So far back as she
could' drive her mind.
Jonquil had been unhappy.
And she felt that she
could remember very far
back indeed. There were
things to make her re-
member. Terrible things.
Scourges. Signposts of
sadness.
There was, for instance,
her mother. Of course,
most girls remember their
mothers, but not in just
the way nor for just the
reasons that Jonquil did.
Most children are made
comfortable by their
mothers. Soothingly,
drowsingly comfortable.
And in the blanketing lap
of such warm comfort
things become blurred
into a pleasant whole.
Things melt in a comfort-
able reminiscence of sweet
sachets and cuddly arms
and fragrant kitchens and
a lullabying sort of
26
voice. All these things compound and become one's mother.
Not so with Jonquil. She associated no comfort with
her mother, no fragrant baking days when she had been
allowed to make gingerbread men with raisin eyes, no
lullabying voice.
Jonquil had been uncomfortable. She had been uncom-
fortable twenty-four hours out of the twenty-four. Even
when she had slept- she had beeji aware of discomfort, of
the fact that the bed was gritty and lumpy, that her
mother was sighing and making moany little noises in her
sleep, that her father was snorting and sniffling, and that
they would have to be up in the pallid dawn hustling thru
dim chill streets to another train bound for another dreary
town.
Jonquil had had long, head-drooping hours behind the
scenes waiting for her mother to make her final dying
appearance as Camille or whatever highly flavored role
she happened to be enacting on that particular night.
The character woman had come into their room
and shrieked dreadful things at her father and
ather. She had seemed to put herself in the
place with them and called them "poor
dupes" and other hideous names
■^<1
And a Girl's Escape From Herself
|iiil had had scene shifters 01 juveniles 01 charactei
men .is tem|>oran and evei shifting nursemaids. Ton
.jtiil hail subsisted upon fried food, skim milk and folli
- m order to attain to that creature comfort known as
"l full stomach."
It was in the role of Camille that Jonquil best 01
-t remembered her mother. It had been hei mother's
rite part "1 understand, Catnillc," her mother had
I "I become one with her it i ^ my hope thai I
•.hall some da) be recognized as having given one <>t the
world's greatest Cainilles to the theater."
Jonquil remembered sitting one night in the scant audi
. yawning awa\ the time until her mother should have
■1 Comities highly emotional departure from the flesh.
\ man next to her smiled at her unabashed yawns and
said, "Dont blame you . . . that woman is the world's
worst Camille ... 1 congratulate her. I thought I had
the gamut."
Jonquil had felt like crying. Her mother would have
l>een so hurt. Still, he had said that he congratulated her,
too. Grown-ups said such mixy things. Congratulate
meant something nice. A more prominent part, a raise
in salary, a week's stand. Something like that.
Lillian and I'ercival f)e
\ ere were the owners and
proprietors of a second-rate
stock compan) playing two-night stands in thud 1
towns, Now and then the) had a lummei engi
but it Was Onl) now and then
Thej played a catholii and comprehensive repertoire
I heir repertoire was a great point of pride with them
Jonquil had, among her hazier memories of her mother,
visions ot her m tulle and butterfly wings, a golden
( olumbint; or again as a languid Juliet lying in a stiffly
composed nightdress upon a nightmarish catafalque made
of papier mache. ( >r, again, as the dismal ( amilh dis
mails expiring in her best nightgown which had been dul)
washed and hjMg to * 1 1 > in their hedroom each night be
tore the performance of Camille,
Perhaps, after all. Jonquil's most potent memory of
mother was the last one. She never seemed able '"in
pletly to efface it. Years later, in the shadow w >rld, this
memory would recur to her. the realest thing in the unreal
world. And yet she was never quite able to distinguish
as to whether it had actually happened in one of their
hotel rooms or whether it had been a singularly poignant
performance on the stage. Possibly it had been another
one of those times in the best nightgown or on the papier
mache catafalque.
She felt sure of the best nightgown, at any rate
And it must have been in the hotel room because her
memory did not conjure up any footlights, but merely the
dirty gray wash of early mouning. Anyway, her mother
had been lying on something or other clad in the best
nightgown and breathing more and more heavily with
every difficult breath. Jonquil had called her and she
hadn't answered— only breathed harder than ever — and
then, all at once, she hadn't breathed at all. She had been
terribly still. The lace on her breast hadn't stirred even
when a puff of icy wind came from nowhere at all and
played about the bed.
Jonquil had supposed her sleeping and had slipped out
of the room and had gone downstairs to breakfast. She
remembered thinking that she would bring her mother
something on a tray. Her mother loved to have
breakfast brought to her on a tray. She had said
that it made her feel "refined." And then they
could 'still catch the train. . . .
Papa had not been in their room all night but he
came in to breakfast while Jonquil was having
hers. Jonquil had known that he would he
"mad" because mama wasn't up and had has-
tily told him that mama would surely make the
train but that she was so tired she hadn't even
breathed and that she was going to take her
some breakfast on a tray. . . .
Papa had glared at her and she had noticed
that his eyes were redder than usual and had
thought how horridly his lower lip hung down,
almost as tho it were going to drop sloppily off.
But it had never hung so low as when she had
said that mama wasn't breathing. Papa had
turned and left the room when she said that,
which was strange, because he never did any-
thing, certainly nothing for mama, until he had
eaten himself. She supposed that mama was
going to "get it" harder than ever and
the thought took away whatever flavor there
might have been to the cold bacon ami storage eg
Jonquil never saw her mother again. They had wanted
her to look at her when she was lying in her coffin but she
had cried and begged them not to make her. She had felt
(Continued on page 68)
27
CELLA LLOYD BECOMES
By
John Held, Jr.
28
PLEASINGLY PLUMP
WHAT'S GONE ON
BEFORE
With Cella Lloyd safe-
ly over with her public,
even tho her personal ap-
pearance wasn't very suc-
cessful, she, nevertheless,
feels so secure at the top
that she has forgotten
her slender waist-line.
Knowing that her days
are numbered unless she
keeps in trim, Cella starts
reducing thru a course of
physical and Brussels
sprouts. Now read on!
Scene III
No matter how strenuous the stunt, Cella thoroly believes in
trying it out. She claims to have invented this" exercise, but
her bitter rival, Hebe Jebie, knows better. Hebe saw her at
a vaudeville show intently watching the Japanese acrobats
juggle the barrel. As for Cella, she has juggled the barrel
right out of the picture
Scene IV
To continue the painful pastime of reducing
Cella knows she must diet as well as exercise.
Accordingly she gives up spinach and pine-
apple and orders a light luncheon of fried
chicken and a tureen of clam chowder. Enters
the mysterious stranger. Can he be the
producer?
29
Facing Death
By Scott Pierce
As a result of this insatiable demant
for thrills, nerves of chilled steel art^
as indispensable an adjunct to a
modern film comedian as freckles are!
to a dill pickle. Disregarding the
ever-imminent rustle of the (mm
■■■ &
HOLLYWOOD has a num-
ber of workers who
would never be rated as
good risks by any insurance
company that was in its right
mind, but, taken as a class,
there is no single group in the
Film Colony that flirts more
consistently with death, havoc,
and destruction in the course
of its daily labors before the
camera than do the movie comedians
In fact, in order for a film come-
dian to get his name in electric lights
over a theater, it is apparently first
necessary for him to run imminent
chances of getting that same name
on a marble slab over a neat,
grassy mound.
For reasons known entirely to
itself, an American picture audi-
ence wishes its hair to stand on
end at the same time its funny-
bone is being tickled. The nearer
a comedian can come to a violent
and spectacular exit from this vale
of tears, the funnier that comedian
apparently is.
If it is funny to see a comedian
nearly fall ten feet, it seems to follow
necessarily that if the comedian
nearly falls a hundred feet it is ten
times as funny. A situation that is
only mildly mirthful when a comic
is being chased by a hungry bulldog
becomes really sidesplitting when the
pursuer is a. man-eating lion,
Chills are an essential running
mate to chuckles. Custard pies nave
given way to boiler explosions, street
scenes to skyscraper roof-tops, trick
flivvers to racing airplanes, and
banana skins to landslides.
Jimrrue Adams made them
shudder in the above
scene when he reposed
flat on his back on a
slanting board that pro-
jected from the top of an
oil derrick. Harold Lloyd
surely risked his life in
the scene on the right —
taken from "Safety Last."
The spectators gasped for
breath when he did his
stuff on the skyscraper
Reaper's black robes in the near
distance, the successful come-
dian must not only laugh at
Death, but must win still greater
laughs in SO doing.
It is doubtful if anv comedian
Above is Buster Keaton
being propelled by the busi-
ness end of a boot from the
train. He doesn't allow ac-
cidents to shatter his non-
chalance or nerve. It takes
a deal of pluck to face a lion
— even one of the Hollywood
brand. The girl who is be-
ing used for a cushion hopes
the big brute is on a diet
.^•••
30
For a LAUGH
The American Picture Au-
dience Wishes Its Hair to
Stand on End at the Same
Time Its Funny-Bone is be-
ing Tickled. That's Why
the Comedians Must Risk
Their Lives in Gathering
Thrills and Laughs
00 the screen has equalled
Harold Lloyd in number of
thrills per foot of celluloid
during the last few years.
And the thrills have all been
legitimate ones. In common
with Keaton, Denny, and other
big-time laughmakers, Lloyd
absolutely refuses to use a
double, and relies almost solely
upon his own physical ability,
and careful planning and tim-
ing of the various stunts
beforehand.
Lloyd's Thrills
A typical Llovd thrill was
n filmed in '"Girl Shy."
Standing on the top of a
runaway street-car which was
speeding downhill at the rate
of nearly thirty miles an hour.
Harold grasped the tip of the
trolley-pole and was swung
clear, dangling over the edge
of the car for an instant, then
dropping like a plummet into
of sheer luck, the feat went off like clock-
work, and the comedian did not even
receive a scratch.
In "Safety Last," Lloyd piled thrill
upon thrill until the spectator was fairly
left gasping for breath. ( )nly an absolute
fearlessness of height upon Lloyd's part
made the various stunts even possible.
Incidentally, it was in this picture that
{Continued on page
Earle Foxe, on the left, has had all kinds
of luck in avoiding the hospital or the
cemetery while making the "Van Bibber"
stories. Here he is telephoning for help
while dancing on the air a few hundred
feet from the baking asphalt
The HOLLYWOOD
of France
I HAVE met — worked with, alas! — many, many mo-
tion picture directors, but not one of them bears the
slightest resemblance to Rex Ingram, his manner and
his methods. Rex Ingram is unique. Where I have seen
directors — not all
of the m — w ear
their caps with the
visors down the
back of their
necks, array them-
selves in riding
breeches and put-
tees, bellow thru
megaphones, and
go striding and
swearing all over
the lot — Rex
doesn't.
Rex Ingram is
the quietes t —
silentest might be
the better word —
man I met on the
whole Riviera.
His quiet and
silence, however,
are impressive.
You feel that
there is so much
he might say, if
he chose ; so many
interesting things
he is constantly
holding in reserve.
32
At the top of the page is a bird's-eye view of Rex Ingram's studios at
Nice. The imposing edifice at the right is the Administration Building —
which houses the offices of the director and the various heads of depart-
ments. The interior. above represents the modeling room where sets and
details are designed
As he sits opposite you, you become conscious of vast
potential activities constantly going on in his mind. I
have never yet seen him when he was not looking with
a far-away gaze at something beyond the problem that was
directly in front of
him. He has de-
veloped a deep
crease running
down almost into
his left eyebrow
from peering into
space this way.
Rex has a fac-
ulty of bringing
silence with him
wherever he goes.
No matter how
noisy the studio
may be, you can
always tell when
Rex has entered,
for a hush falls, on
his presence. If
the whole place is
not quiet, you will
always find a little
spot surrounding
him that is. I re-
mark this in way
of contrast to
most directors I
have worked with
who were the Big
Noise itself.
.
Rex Ingram Has Found a Paradise —
a Perfect Arcadia by the Sea. The
Riviera Beckoned Him with Its Ro-
mance— and at Nice with Its Beautiful
Environs the Idealist Among Directors
Is Living in a Motion Picture King-
dom of His Own
By Henry Albert Phillips
Rex the Idealist
| rave heard it
* s;iul that Ingram
is a poseur, but I
do not believe he
is. We must all
bear in mind that
Fame puts one on
a pedestal and,
once famous, we
have to pose a bit
to keep the gaping
world satisfied.
On the contrary,
Rex Ingram cre-
ates the impres-
s i o n that he
doesn't give a
whoop about any-
body or anything.
Vet, on second
thought, that sur-
mise does not hold
water for a mo-
Lachruan, Paris
Laihman, Pari*
Above is a "dis-
covery" of Ingram's.
He is a Russian who
answers to the name
of John Petrovitch —
and he plays one of
the principal roles
in the director's new
picture, "The Magi-
cian." On the left
are the three large
studios at St.
Augustin — which is
three miles from
Nice
ment. There prob-
ably is not a man
in the business of
directing and pro-
ducing motion
pictures who cares
more for every-
body and everything than this same Ingram. I offer as proof of
this conclusion everything that he does — and I may say that he
does everything. A Rex Ingram picture is Rex Ingram. No,
there is no one who thinks more of and works more for the public
picture-goer than Rex Ingram. So, this not seeming to care a
whoop may be a pose. If it is, it is like everything else he does,
artistic !
There are other ways in which Rex Ingram reminds me ot
Xapoleon. One is the manner in which he always dresses in a
subdued, quiet costume, while his generals are usually arrayed in
gaudy uniforms. Again, he becomes conspicuous because of hi>
marked inconspicuousness. There are only two things that are
unusual. One is a little French tight student tam-o'-shanter that
he wears. The other is a gold-chain bracelet affected by the
young Frenchman of today. Neither seems so extraordinary
viewed in France when one has been there for a long while.
If you should ask me what I
think is the most remarkable
If you saw the German picture, thing about Rex Ingram, I
"The Golem," which was pre- should sav it is the fact that he
sented here j few years ago, has not become insufferable,
you remember Paul Wegener. -,, . » .. . r ...
The Teuton actor has the lead- ^ hat ,s the miracle for which
ing part in "The Magician" (Continued on page 66)
33
Like the Little Theater Movement — the
Little Cinema Idea is Spreading Rapidly.
Film Guilds Are Sprouting Every-
where and Picture Patrons Are Taking
Up the New Art of the Future
By Matthew Josephson
The Rise
LITTLE
UNDER the surface, one of the
most exciting events of the
year in motion pictures has been
the spread of the "little cinema" idea.
We have had our art theaters and
theater guilds ; now we are to have
Film Guilds and "salons of the
cinema."
"A little theater for the films in
every community, reviving and intro-
ducing only the best American and
foreign pictures. Minority of true
screen devotees to be organized. Skep-
tics to be converted." So run the
manifestoes of these new film-phobes
and pioneers.
The intelligentsia is taking up the
films. Society is taking them up too —
Decla Bioscop
Here is a scene from the German production of "Cinderella," made
by Ufa. The actress playing the title-role is Helga Thomas. The
picture was first shown in America by Film Associates
34
not as a secret sin, but frankly
avowedly, as the New Art of tht
Future !
Invited to one of these "film
art evenings," I elbowed my waj
into a pretentious theater lobby
thru a cultured mob in evening
dress and eight-cylinder cars, b
was more like Carnegie Hall or
Russian Ballet night at the
Metropolitan Opera: artists, pro-
fessors, all the younger genera-
tion and the smart "New
Yorkers" were there talking at
the top of their voices. As the
great foreign film with its fa-
mous stars went on the screen,
there was wild applause ; or,
hisses, laughter, organized cheer-
ing as some new wrinkle or fan-
dangle appeared on this ultra-
modern screen. Verily, like a
first night at the Opera!
And here were — well
several hundred people
who had paid some ten
dollars in advance to see
a few films that were
heralded as examples of
the modern art of the
cinema, not because
there were specimens of
feminine or masculine
pulchritude displayed therein.
They've Come to Stay
Observing this new movement toward "little
cinemas" for artistic and seriously wrought
pictures, I have been struck not so much by the
strangeness of the idea as by its vitality, its
staying power. This season we are to have
four "little cinemas" in New York instead of
two ; and a chain of them in other large cities
such as Boston, .Washington, Chicago, Los
Angeles.
The idea of little theaters for exhibiting new,
experimental, and unpopular films offers so
many possibilities for the future, (if it persist*
and grows as it seems to be doing), that it is
time to look over the field and meet some of the
leading figures of this movement which has
started from the outside.
Symon Gould, the mainspring of the Inter-
national Film Arts Guild, has. for instance, never
been connected with any of the big producing
companies. His group has been the most suc-
cessful, the most aggressive. It has gained a
foothold on Broadway and is at the very mo-
ment regaling chosen audiences of New York
Dudley Murphy is
one of the figures in
the art-film move-
ment. He is home
talent which has ab-
sorbed the ideas
about modern art
that are current in
Europe
.
of the
CINEMA
A Wave of Revivals is on-Revivals
of Worth-While Pictures, Which Are
Being Shown With New Impression-
istic Ideas. The Public Taste is Chang-
ing— It Demands Intelligence and
Quality in Its Films
Symon Gould is the main
spring of the International
Film Arts Guild — which
caters to the best in the
picture field. It is his pur-
pose to establish the little
cinema movement in a
score of cities
with him masterpieces of
ihe past, or box-office
flop-, or foreign films of
ijreat beauty which might
never otherwise see the
for really tine pictures which arc not box office attractions on a large
scald and that there is a special public for such things. It i- slow work
because we lia\e to educate more of the general Olovie-going public into
going out of their way to view these tine things.
"However, results in the first year have been surprisingly good. Beyond
our hopes. We have arrived, and now we are going to expand. Promi-
nent Writers, painters, musicians, hlm-executivcs came to our programs.
Society people came Son I
our subscription evenings had to
be repeated because of the over-
How."
"How are you going to expand
unless you have a distributing
system," I asked. I was think-
ing of how many well-inten-
tioned ventures of this kind drop
into the red-ink side of the
edger. Motion pictures COSt SO
(Continued on fa.
light here- were it not for the Film Arts Guild.
Gould is a little man with horn-rimmed spectacles,
but big with ideas for livening up the motion pictures.
His Film Guild has the charming little Cameo Theater
which seats only five hundred. Here among the
screaming electric signs of Broadway by night the
Msserby, drawn by the magic name of Lubitsch or
Stroheim or Griffith, may turn in for a quiet hour with
some enduringly beautiful work of the screen. "The
Last Laugh," "The Marriage Circle," "The Miracle
Man" and many other immortal works which I have
tried to call back to the mind of readers of Classic
is outstanding achievements of this new art live again.
How absurd that such things should lie rolled up on
shelves in dusty storehouses !
The Public Must Be Educated
f have realized from the beginning," Gould said to
me. "that our growth would have to be slow and
gradual. I have felt all along that there was a place
The scene in the center of the page is taken from "The
Waxworks," the highly impressionistic German film
which has created a sensation wherever shown. On the
right is another study of Helga Thomas, the German
star, enacting the title-role of "Cinderella" in the
Ufa production of that name
35
Emotions You Have
By Taskey
Lon Chaney has a habit of
putting a scare into the
hearts of his audience.
If you must know how
he does it — well, the
director frightens
him with a jack-
in-the-box
36
Missed
fo make a child cry good and hard it it
iccessary for some stem taskmaster (or
nistress) to administer a sound thrashing
vith the business end of a boot. That's
how Baby Peggy does her stuff
37
W. C. Fields has a
sound philosophy of
the art of making
them laugh. As a
clowning juggler, he
is in a class by him-
self— and he knows
all the tricks of the
trade
The UP-TO-DATE
Old 1
timer!
HIS ideas be-
come mem-
ories, and no
new ones grow : this
is my plaint against
that ubiquitous bore
who cannot see him-
self as anything but
the fount from
which all wisdom
flows — for, to him,
wisdom is no more
than a knowledge of
what happened in his
intimate circle dur-
ing the period that
started twenty-five
years ago, and prog-
ressed backwards. I
am speaking of that
perpetual drag on
progress, the (ill-)
famed "old-timer."
Fields is what you might call an im-
promptu comedian. He "ad libs" as he
goes along. Below is one of the scenes
from "The Old Army Game"— with the
mirth-maker having fun with his trick
flivver
Says W. C. Fields:
"I'm egotistical enough to give the producers a battle
when they want to make a character do a thing I dont
think he would do naturally.
"A comedian should be given a well-worked out skele-
ton framework — and then told to add the bricks and orna-
ment as he goes along.
"The basic human types never become old and stale —
no more than landscapes do.
"I intend making the character I'm playing more im
portant than the registering of my own personality.
"You cant do anything new. Air-planes, cops, boats
elephants, cows, even cripples — all have been used."
This burst of petu
lance is not the resuli
of having met one 0'
these ancients ; it's be
cause I've met one whc
isn't ! — and theref on
know them to be un-
necessary. For no one:
would have the slight-
est thought of denying
W. C. Fields the right
to this title in the rank'
of those who amuse —
yet he doesn't claim it !
Or, rather, he claims i:
only as a well of ex-
perience on which to
draw for help in the
present and future. His;
life is of the present
and future, with the
past as a helpful back-
ground ; rather than of
the past, with the pres-
ent as an unwelcome
intruder. "I wish I
knew" rather than
"Them were the days"]
is his attitude to life.
Mind you, I have
38
W. C. Fields Is an Old Hand at the
Comedy Game — Which Accounts
for His Perfect Pantomime. He
Believes in Keeping Pace With
the Public by Presenting Some
New Ideas
By Dunham Thorp
nothing against the past; I am not advocating a con
sthutional amendment to prohibit it by law. It's
all right in it> place. If one makes of it a place
I'hctf II1UM |
new treatmr: •
old i. Iras if a
comedian would
make a tiuccets of
himself If th<- I
the slightest
similarity, the
crowd always
mutters — "I've
seen that before"
Here are Chester Conklin and W. C.
Fields arguing the respective merits of
:heir methods of fastening movie
mustaches. Conklin attaches his
walrus appendage with glue while
Fields recommends hanging it on his
lose with a hook-and-eye arrangement.
\t the right the comedian demonstrates
now a domesticated family man handles
a large cake of ice
where one has been — a place of other man-
lers and customs, like a foreign country —
and not a citadel in which to fight to the
ast gasp the savage horde of new ideas, it
nay oven come in handy.
And so it does with Mr. Fields. As a
wise-cracker and clowning juggler, there
ire very few places where wise-crackers
md clowning jugglers cause amusement
that lie has not been. England, France,
Germany, Russia — but no editor would
iccept an article that is merely a list of
manes.
Pantomime for All Languages
A no no hidebound and unchanging act
could withstand the differing demands
if these different countries. A*, for in-
stance, in countries where his audience
could not understand a word of English
\
"I )f course, where I couldn't
speak the language, I had to do
im act in silence."
And so, the great silent Stretches of the
films did not awe him — he had air end ,
plored the solitudes, and found them m
d( solate.
And, also, because he has written most of
the sketches he has used in musical comedy,
he hasn't that self-conscious feeling
of the newcomer in pictures when it
comes to the talking over and work-
ing out of scripts.
"I'm egotistical enough to give
them a battle when they want to
make a character do a thing I dont
think he would do naturally.
"And besides that, if you do
something you dont think you —
as a certain character should,
you cannot chase it from your
mind. Days and days later,
your mind will still return to
that action — it become* a per-
petual mental irritant for the
life of the picture.
"Even if the actor is wr
it's almost worth while letting
him have his way so that he'll keep his
peace of mind.
'"The happy medium we should try
for is a well-worked out story without
too many restrictions on character de-
velopment."
"But wasn't 'It's The Old Army
( iame' made without a detailed script ?"
"Yes — and there I see one of the
defects of the industry: not enough
time is spent in preparation — especially
in the working out of stories.
"For instance: in a picture where
you just 'ad lib' you may have to
bring in an extra character towards
the end. And then you look back and
see a' least a dozen other places ■■
»t pna,
39
U
GREAT ATHLETES
George O'Brien is a super-athlete in his
own right. He has the physical build of
a Greek Hercules, the lithe grace of a
dancing-master, and the hitting powers
of a Missouri mule
Fred Thomson, on the right, is a natural
athlete who excels in everything. At the
Inter-Allied Games in Paris, a few years
ago he won the decathlon in competition
with most of the world's best
Hal K. Wells
MOVING picture audiences of the Twentieth Century
have one big thing in common with their prehistoric
brethren of the Stone Age, and that is an innate and
undying admiration for sheer physical prowess.
It is a trait as old as the race itself. It was first born back
in the dim days when the world was young and such things
as second-hand flivvers and radio sopranos were undreamed-
of nightmares of a far distant and de-
cadent future.
The several thou-
sand years that have
elapsed since then have
only slightly changed
our inbred admiration
for physical prowess. Today,
instead of the hairy Neanderthal
man who could give a gorilla the
first hug and then crack three of
the brute's ribs without half try-
ing, our homage is paid to the
athlete, the man who combines
skill with his sheer brawn, and
adds the quality of a fighting
heart to the glory of both. But,
fundamentally, our admiration
for physical prowess is as strong and sin-
cere as it ever was.
This admiration is the factor that
throngs boxing arenas, football stadiums,
baseball parks, causes the meeting of two
girl tennis players to get first-page head-
lines in the newspapers of the world — and
fills moving picture theaters to the last seat
when such suoer-athletes as Douglas
Tom Tyler shows the mar-
velous chest and arm de-
velopment that enabled him
to acquire several weight-
lifting records
George Lewis is
one of the best
all-round ath-
letes ever de-
veloped by a
California high
school. He stars
at basketball
40
Df the SCREEN
At the right is Malco
Gregor who formerly held
Metropolitan diving ch
ship — and was on the
swimming team for two
rhe American Public Raises a Furore Now and Then Ov
he Sheik and Other Bizarre Types — But in the Long Ru
t Wants Its Heroes to Be Decidedly
)f the He-Man Variety. There Are
Several Athletic Stars on the Silversheet
Who Are Breaking Records in Sports
as Well as at the Box-Office
Fairbanks, Fred Thomson, or "Lefty" Flynn arc appearing
m the silversheet.
The result of this natural hero-worship of the athlete has
>een' the appearance of a number of really splendid speci-
lens of physical manhood upon the American screen.
It {joes almost without saying that these athletes are the
eal thing. They could not very well be anything else.
Athletic build and prowess are things that can not be
aked. A sofa cushion and a set
f false whiskers can make a one-
undred -and-ten-pound property
un look like Santa Claus him-
elf, but all the trickery in the
(Continued on page 70)
Edmund Lowe won his
letter playing football and
baseball. Today he keeps
in trim by playing a hard
game of squash at the
Hollywood Athletic Club
William Russell was a
helpless cripple as a boy
of sixteen, but thru per-
severance with exercise
he has become a power-
ful athlete. He shines
best with the boxing-
gloves
Bob Custer, on the left, possesses a
fine physique which comes in handy in
his cowboy pictures. He keeps in
trim by taking a medicine-ball and
working out on the beach. On the
right is the only "Doug" Fairbanks,
who has developed himself into one
of the screen's greatest athletes. All
of his pictures register his muscular
prowess
41
LYA DE PUTTI
All the moods of a madcap — the seductive charms of the serpent of the Nile — these are
generously, strikingly illustrated by Lya, the languorous, in "Variety." Never has
woman displayed such sweeping power over man since Eve gathered skookums for Adam
42
What It Costs to Be a Well
Dressed Sheik
By John Abbott
A LOT of money goes into circulation when an actor equips
-**- himself with the clothes and accoutrements of a sheik.
Take Rudolph Valentino, for instance. He has spent several
thousand dollars to dress himself appropriately and colorfully
for his new picture, "Son of the Sheik."
The investment called for a complete wardrobe of hoods,
cloaks, vests, turbans, sashes and other apparel — to say nothing
of such trimmings as swords, knives, revolvers and jewelry.
With all of this outlay of wealth to effect a fitting characteriza-
tion, there is no doubt about the sheik's being well-dressed.
J
Sapphire ring set in platinum, $3,000
Antique silver bracelet (imported), $150
Wrist watch, $150
Cigaret case (jeweled), $300
Patent Lighter (jeweled), $150
Revolver, $35
Belt and Knife (antique), $550
Sword, $4,000
Spurs (silver), $50
Turban, $25
Two Arabian burnooses, $450
Two Silk Headdresses, $70
Two lamb's wool shirts, $100
Two embroidered vests, $300
Embroidered outer garment, $350
Sash, $20
Gold-embroidered cloak, $500
Two jewel-studded belts, $600
Embroidered revolver holster, $25
Arabian trousers, $175
Breeches with braided trimming, $75
Two pair imported boots, $155
Slippers, $30
The total cost of being outfitted in the Valentino manner is
approximately $11,260
43
Here Are Some Further
Comments on the Busy
Activities of the Stars on
the Coast— By the Editor-
in-Chief of the Brewster
Publications
Impressions of
HOLLYWOOD
By Eugene V. Brewster
WHEN Irene Bordoni was playing here recently
she was much entertained, and among her hostesses
was Mrs. Antonio Moreno, who is a princess
among entertainers. There were fourteen at table at the
six o'clock dinner — the early hour being due to the fact
that the guest of honer had to leave early for her
theater.
Mr. and Mrs. Samuel Goldwyn, Fred Niblo, Enid Ben-
nett, Florence Vidor, Corliss Palmer and Ramon Novarro
were among the guests, and I had a good chance to com-
pare Moreno and Novarro. They are both dark, and of
the same height, but Tony is the stouter and older, and,
in real life, the handsomer. He also looks more virile.
Ramon seems more ethereal and romantic, and certainly
less rugged. Of the two, Tony is the more picturesque.
Those Eating Places
'Time was when Armstrong's was the popular place for
movie people, and then the scene shifted down and
across the boulevard to a place called Montmartre, which
is much more elaborate and showy. But now the latter
has got so noisy, and busy and common that the better
class of movie people are not seen there so much. It has
a large and noisy orchestra with a dance floor in the center
and contests are quite the vogue.
When one desires a lively time with plenty of excite-
Montmartre; when one wants to
one goes to the
a good, quiet
ment,
enjoy
meal and to talk
and be heard, one
goes to Paulais's,
Armstrong's,
Frank's, Henry's
Ship Ahoy, or one
of a dozen others
within walking dis-
tance. Ship Ahoy,
by the way, is fitted
up like the saloon of
a ship with the
waiters in marine
uniforms.
There's another
called "The Jail,"
which looks just like
one, and the waiters
are dressed as con-
victs. Then there's
the "Zulu Hut,"
where one sits on
the floor and is
waited on by fake
Zulus, the "Planta-
tion," a big "South-
ern style" resort,
and so on and so
forth.
Here is the very latest photograph of Mr. Brewster at his desk in the
Hollywood office of the Brewster magazines. Altho the editor is ever
busy with his editorial duties, he finds time to attend the various social
functions of the stars as well as pay respect to their productions and
performances
Rudy Has a Winner
\A^hile at another dinner party I learned from Florence
"" Vidor that Director Fitzmaurice was secretly showing
"Son of the Sheik" at a small theater in Glendale— "try-
ing it out on the dog," as it were. I was mildly provoked,
because I wanted to help them preview it, and they left
me out. I had half a mind to leave the table and run over
to Glendale and hunt it up, but I didn't.
Next day I was over on the Schenck lot and I repri-
manded Joe for not telling me about it. He said that he
knew nothing about it and that he was surprised. I then
ran across Rudy himself later and I also called him down
for not inviting me to the try-out. He glared at me with
fire in his eye and said that he knew nothing about the
showing of his picture, that he should have been informed,
that he ought to have been consulted, and so on. With
that he excused himself and darted off.
Later, Fitz came up to me and said that I had gotten
him into a lot of trouble. The fact was. that he wanted
nobody to see the picture in its present state, that he
wanted to cut it and fix it up the best he knew how before
the boss and star and critics saw it. "Serves you right,"
said I, "for not letting me in on it. I know all about
unfinished pictures in their raw state, and I want to help
you. I have staked my reputation on Rudy's comeback,
and I'm just as anxious as you are to make this picture a
knockout."
He promised me I
should see it in a day
or two, and he prom-
ised the others ditto,
and so now every-
thing is quiet along
the Potomac and
everybody is happy.
And, by the way, it's
going to be a great
picture!
Gilbert Hair
[ack Gilbert was
among the 'guests
up at the Hearst
"ranch" recently,
and he kept me
amused at all times.
He is full of life,
full of ideas, full of
conversation, full of
fun and full of hair.
His hair is now
eight inches long,
black and wavy, and
he looks strikingly
picturesque. He has
(Cont'd on page 86)
The
J'
44
Owr
OWN
NEWS
CAMERA
i
I 'ruin ■
When two great artists get
together, they usually ex-
change compliments. Above
are Charlie Chaplin and
Raquel Meller, the Spanish
songbird, who visited the
comedian while on her trans-
continental tour in the in-
terest of art and finance
On the right is Madge
Bellamy, who returned
recently from a vaca-
tion in Europe. She
posed very prettily for
the photographers on
the deck of the Reren-
garia while the customs
officials swooped down
on her trunks
Above are Gertrude Lawrence and Beatrice Lillie
(Lady Peel), stars of "Chariot's Revue," having a
pal-ly time with Dick Barthelmess — who is at-
tired in the manner of the Amateur Gentleman.
The Lillie person is about to make her screen
debut in a comedy
On the right are Mr. and Mrs. Alastair Mackintosh,
who have sailed on a belated honeymoon for Europe.
The Missus, you know, is Constance Talmadge and
hubby is an officer of the British army. Here we
have the lovebirds watching the traffic of the
boulevards from the balcony of the hotel suite in
Paris
•***
' \~
1 \
1
^
^AT\ A
h&*
¥
^■>
■ ^
t'ndcrwood & I'nderwond
4"
With the modern girl "crashing" into
all kinds of men's sports, it isn't such a
surprise to see Phyllis Haver "tuning
up" for the six-day bicycle race. She
is on one of those practise "bikes"
while Marie Prevost times her speed
Eddie Cantor has kissed the stage
good-by. The Broadway musical
comedy star has arrived in Hollywood
with the Missus and the four little
Cantors. According to Eddie, he will
do his stuff on the screen — his first task
being a screen version of the popular
"Kid Boots"
Above is Marion Mack, who has been
picked by Buster Keaton as his lead-
ing woman. Buster can pick 'em about
as well as Mack Sennett. In fact, the
frozen-faced comedian took her away
from Mack's gallery of bathing
beauties
Underwood &
Underwood
GilHams
In the oval is Dolores Costello
displaying the latest thing in
a sports costume. She has
prepared herself for Holly-
wood's rainy season by equip-
ping herself with a pair of
storm boots. A star cannot
risk getting the "newmony,"
you know
Just the thing for any
town's summer season is
sported by Carmel
Myers on the right.
Since the summers are
long out Hollywood way,
Carmel intends to make
good use of the cool-
looking frock with the
white triangles
46
.
In this apache costume
Blanche Mehaffey has
added a daring touch to
her wardrobe. The crea-
tion features a combina-
tion of black velvet and
black and gold brocade —
to say nothing of a leather
belt which carries a
naughty little dagger — and
black fishnet hose to
make the boys look
around
Above is the sheik, flanked on each side by the
beauties of two hemispheres. The lady on the left
is Vilma Banky, from Budapest — Rudy's leading
woman — and the little lady on the right is Yacko
Mizatani, the "Mary Pickford of Japan"
Gwen Lee, on the right,
created a mild sensa-
tion when she appeared
with this giant som-
brero, a gift from some
Mexican admirer. It's
one of the biggest hats
in captivity, but Gwen
uses it for a parasol,
umbrella, bath-house,
dog-kennel, or what
have you
Just to show how the
girls obey that impulse to
dab their faces with rouge
and powder, here are Betty
Byrd and Thelma Daniels,
from the Christie play-
ground, wading knee-deep,
and forgetting the fishes
in order to put over a
snappy appearance
17
REG the REGULAR
OF all the host of young men who have
passed in review across the
screen this past dozen year
two stand out as symbols of high-
spirited American youth.
The first was Wallace Reid,
whom a pitiful death immortal-
ized.
The second is Reginald Den-
ny, whose star is still in its
ascendancy.
There are those in Holly-
wood and elsewhere who be-
lieve that Denny's popularity
in five years will be even
greater than was ever Wally
Reid's. There are still others
who believe that Denny would
already be a greater figure
I
than was Reid at his prime, had Denny been
given Wally's opportunities of story, direc
tion and exhibition.
These however, must always remain
matters of conjecture. They are in-
teresting to the men who make pic-
tures and display them. They are
questions for the fans to debate.
But they have no bearing on the
personality of Reginald Denny
himself.
Judged by His Nickname
think the best barometer
of Denny's personal popu-
larity is his nickname. In the
opinion of low-brow America,
of which this writer claims to
be the greatest living example,
Reginald is not much of a name.
It smacks of cutaway coats and
pink teas. It borders on the ef-
feminate. It is very easy for a
man named Reginald to be called
"Reggy," in which case he is invari-
ably pictured as wearing a silk hat
and nursing a lap-dog.
So far as I know, nobody ever thought
of calling Denny, "Reggy." His nickname
is Reg, the last letter slurred as in "George."
It is an honest name, a blunt, straightforward
sort of name ; a man's name. It is typical of
Denny.
It must have been five years since I first met
Reg Denny. Engineered by that splendid actor
and intrepid sportsman, Ben Hendricks, a
group of us had planned a trip to lonely Santa
Cruz Islands off the California Coast, where
there were rumored to be mountain sheep and
wild boars.
We gathered before dawn of a cold, foggy,
miserable morning, on a long pier that stretches
into the sea from the town of Santa Monica.
A few early-rising gulls screamed overhead, un-
seen, wraiths in the mist. The heavy rollers of the
changing tide thundered against the pilings and
cascaded on the beach. Eventually we tired of
waiting and dropped gingerly from a rickety ladder
to the deck of a fishing-boat that rode the swells
like a water-logged cork, one hawser carelessly
looped about a barnacled piling.
A Good Sport
\X7hen Denny appeared with his duffel; dropping to
the deck as the little boat lifted on the crest of a
twelve-foot ground-swell, there was a little altercation.
Plainly, a storm was making." Some of the more
timid souls argued for postponement. Not so Denny.
His spirit rode down all objections. We went.
An hour at sea and the gale struck. Thereafter
Reginald Denny is one of the most popular actors in
pictures. He believes in doing favors for everyone
who comes in contact with him — that is, if they play
the game on the square. His home life is particularly
happy. On the left he appears with his wife and
daughter Barbara
48
It Speaks Volumes for a Man's Character
When He Is Known by His Nickname.
Reginald Denny Is One of Those Rare True
Sports Who Believes in Walking on Your
Side of the Street and Shaking Hands With
the Whole Wide World
By Don Eddy
uniil late in t he afternoon we rode thru mountainous seas, the
■nscuppered decks constantly awash, the duffel and rifles soaked,
tin- food ;i soggy mess. It there was talk of running hack to
port, who talked it down? Reg Denny 1
It spirits were low, who was always ^^^^^^^^
on hand with the cheery wise
crack, the booming laugh? .^^^
Denny !
I wish I could pic-
ture him as he was
then, standing strad-
dle-legged on the
plunging deck of the
little craft, his cloth-
ing plastered to his
body, his hair soaked
and rumpled; roaring
high-spirited sea songs,
shouting badinage, man-
ufacturing puns, holding up
the morale of a pleasure crew
that wasn't so pleasant.
Well, we sighted the islands in the
late afternoon, and still later located a de-
ceptive cove on the lee side. The cove looked quiet from
the sea. We transferred the sodden duffel, dropped into
the dingey and started ashore. The cove, as I say, was
deceptive. On the beach the rollers were running ten feet
high, w
oarsman let the
those enormous
troughs. The follow-
ing sea dumped us onto
the beach like drowned
rats, the dingey upside
down.
And who, for-
getting his own dis-
comfort, was the
first to rustle fire-
wood and build a
roaring fire before
which we danced
like naked Indian^
(Continued
on page 78)
The Reg Denny that all ot us
know on the screen is a
vibrant personality — a man
with the spirit and enthusiasm
of a boy. The two gentlemen
grouped with him are the two
mighty moguls of the screen
and the baseball world, Will
Hays and Judge Landis
hite-capped, murderous. ( )ur
dingey slip broadside into one of
Being English, it is natural that Denny would go in
for sports. One of hi6 favorite pastimes is golf. Oi
the right the Missus and Barbara are smiling theii
prettiest for the head of the family and you
Bebe Daniels
has many roll-
icking moments
in "The Palm
Beach Girl."
She plays an
Ioway girl in
Florida
THE
CELLULOID
CRITIC
A FITTING companion picture to "The Last Laugh"
in point of masterly direction, masterly acting and
the compelling power of its story, is "Variety." As
with the other, it comes straight from the UFA workshop — a
finished piece of cinematic art. It tells a sordid triangle that
shatters the lives of its tragic figures. These three — a domi-
nating, brutish showman, his mistress and the philanderer, who
is taken into the confidence of the others — touch the dregs of lif
Yet so completely fascinating,, so absorbing and embracing
its eventful situations that the characters seem to step right out
frame and confront you
with their personalities.
Truly Lifelike
I have never seen a
picture which carried
a more lifelike touch. I
have never seen a pic-
ture which brought forth
so much titanic force in
the logical sequence of
its scenes. There have
been triangle dramas be-
fore, but somehow they
have an artificial ring
compared with "Vari-
ety."
The rough-and-ready
showman is content in
his wagon home — con-
tent with his dowdy wife
and their sprawling babe
until a sensuous woman
enters and seeks shelter.
With soft, limpid eyes
and rounded curves of
figure she conquers him.
50
Milton Sills has an interesting picture in "Puppets." Here we
find him treating one of his dolls to a flow of melody
Emil Jannings and Lya
de Putti have many
dramatic and emotional
moments in that superb
picture, "Variety
He would become the
aerialist again — the
strong anchor man who
catches the lighter acro-
bat in his flights from
the trapeze. And so he
runs away with the girl.
He is happy, but he is
ignorant of the girl's
passion for men. And
she invites the more at-
tractive member of the
troupe with the sex light
of her eyes.
Power and Suspense
I give this brief out-
line of the plot to in-
dicate the motivation.
_»»"^J
Laurence Reid
Reviews the New
Photoplays
Mind you. it is a triangle and tremend-
ously simple of design. Yet it grips you
completely, rhe suspense Is terrific as
\ >u wondei what will happen. You
know that the Germans are as thoro in
their plays as they are in war. There is
no sugar-coating here. Dot's the big play-
boy run afoul of some gossiping friend
who would in form him of the undue pas-
sion that his partners have for each
other? No indeed, it isn't done so ob-
viously. Instead, the most , malicious
method is used — a method which strike^
deep. A caricaturist sketches the tri-
angle in vivid terms. The hatred is en-
gendered in the outraged heart of the
anchor man. And he makes his
rival pay the supreme penalty.
That's all there is to "Variety."
But how graphically it is depicted.
The story, told in narrative style,
with the protagonist con-
fessing the crime to the
magistrate after his long
sojourn in prison, builds
evenly and logically to its
destined climax.
Cinematic Quality
[ must pay the highest tribute to
1 the superb direction. It is mani-
fested in the lighting, the staging,
the grouping and the handling of
the various characters and situa-
tions. The Wintergarten in
Berlin is shown in a kaleidosco-
pic display — with the several
acts dissolving into one an-
other. There is keen suspense
as the aerialists go thru their
routine high up over the
heads of the audience. And
the pulse quickens indeed,
as you wonder if the
anchor man will permit
his rival to fall.
The outraged playboy,
forgetful of the fact that he
is suffering as he permitted
his wife to suffer, hesitates
whether he should catch his
false friend. But he is the
showman, after all. And he
dearly loves applause.
Jack Holt decorates the back-
grounds of the vast open
country in "Born to the
West," an up - and - at - 'em
Western
Lon Chaney scores another point for realism by his uncanny disguise and
performance in "The Road to Mandalay." The gentleman in the garb of
the cleric is none other than Henry B. Walthall
Which is a tribute to the lifelike touch of the picture. So
he goes on with the act and metes out sterner justice.
Splendid Acting
A s in "The Last Laugh" I find Emil Jannings again
living his character to the life. He is brutal,
playful, boastful, cunning, in turn — and he pretends
to be nothing else than what he represents. It is a mag-
nificent performance — a performance which adds new-
laurels. Lya de Putti is also quite perfect in her rendi-
tion of the sex-crazed woman — shading her
role with true femirine moods and impulses.
Chaney in a New Disguise
here is a sordid drama of the East — of
primitive passions of Singapore on view-
in "The Road to Mandalay." As it>
story unfolds, it presents nothing that
can be called enlightened or original.
And it took no inspiration to con-
ceive it. What merit it has r<
solely with its characterization. In
order to effect this Lon Chaney re-
sorts to another of his uncanny dis-
guises. He appears a one-eyed bad
man — whose only redeeming virtue
is his love for his daughter reared
in ignorance of her paternal relative.
Chaney must have suffered to
bring about this one-eye effect. It is rumored that
he employed some chemical which could only be used
two hours at a time — so painful was the task. But
that accounts for Chaney, the realist. Anyway, he
holds the attention — and gives a vivid performance.
Mostly Atmosphere
therwise there is no tug at the emotions.
spiritual or what you will. Lois Moran doesn't
look like the type of girl that would be mixed up in
such a plot — a plot that doesn't approximate anything
(Continued on page 90)
51
MM
BETTY BRONSON
The clock has struck three in the morning for Cinderella. The little girl grows older —
which means that she is privileged to wear her dresses higher. The ballet costume well
becomes Betty and all the boys are hoping she loses her slipper at the ball
Nace
52
—
Adolphe the Elegant
An Impressionistic Pen Picture
of Menjou, the Master of the
Sophisticated Shrug and ^
the Emotional Eyebrow
Caricature by
John Decker
By Gladys Hall
FIRST stage
Adolphe on the Screen.
The suave Sophisticate . . .
the risque dilettante . . . the Man
At>out Town with whom Lit-
tle Mabel would be sate only
as tar as the corner and under
guard of the Mounted Police
. . . dangerous . . . debonair
. . tonsorially perfect ... an
Klegant ... a sipper of
wine, women and song,
when and where wine,
women and song are most
consummate, most costly
... a dropper-in at night clubs
where night clubs are most ex-
clusive, most inaccessible ... a
white gardenia in a buttonhole . . .
■a butterfly alighting for the mo-
ment ... a Last Word . . . the
sort of perfection that hides a worm
at its heart . . . the Exquisite who
bends over a fair and tapering hand
just long enough . . . never too long
... a Philosopher of Passion ... a
Psychologist of Love . . . doubting all
things . . . believing nothing . . . the
Eternal Lotlwrio . . . the cosmopolite
Don Juan . . . An incapable of the
profondities ... a scoffer at sanctities
envy of all average men . . . the despair of all
average women . . . the despiser of gaucheries
. . . the casual Wooer . . . the disdainful Winner. . . .
He Is So in Celluloid
Cor Adolphe a woman must be a strain of music filtered
thru mid-night jade ... a woman must have
mother-of-pearl finger-tips and a manicured soul . . .
She must be clad in satin and sables and evil lace . . .
She must speak with accents of liquid and license. . . .
In his eyes all the weariness of satiety and dead hope
. . . hope forever unfulfilled ... in his eyes graves of
dead dreams . . . dreams relinquished with a perfect
shrug . . . tired eyes . . . cynical . . . disillusioned . . .
mocking . . . mocking ... a fur-lined coat and a silk
hat ... a gesture that says . . . Ooo. la, la, what does
it not say . . . ? Thus the Menjou.
Second Stage
A dolphe Himself ...
A tired looking man of medium height .
bow tie .
A careless
a slight tendency to unshavedness ... a pair
of horn-rimmed glasses that
keep slipping to the bridge of
his nose, thus giving him an
incongruously kindly, even
paternal expression. . . An
Egotist, but an egotist about his work, not
about his wiles . . An eager, nervous
didactic way of talking about "My work"
... a simple, kindly soul : ingenuous,
frank, outpouring ... a good man who is
devoted to his mother . . . who is lonely
in Xew York . . . who stood too long in
awe of his wife . . . who never during
his marital career went out of an evening
. . . who never looked at another woman
of himself "I am really harmless, perfectly hannle-s .
(Continued on page 87)
who says
53
NO further proof is needed that the
Germans produce pictures to make
people think than their supreme
effort, "Variety." Like "The Last Laugh,"
it asks you to pay strict attention, which
you unconsciously do while you find real
stimulation from its drama.
With no attempt at belittling the Ameri-
can product, the truth must prevail. It
prevails in the painstaking effort to get away
from the banalities, the artificialities which too
often saturate our pictures. The serious
minded Teuton is out to record life stripped of
all its gloss. And "Variety" is typical of the
FLASH
race.
Belongs Among the Best
^OME critics have declared it the best film
**^ ever made. W ell, if it isn't, it cant be dis-
puted that it belongs among the screen s few
masterpieces. Certainly there is no room for
argument that it marks the furthest advance
in picture technique. Why, even a spectator who
never saw over a dozen films in his life can
aftfireciate the difference in the manner of its
conception and execution from the standards
which have been placed before him. He would
aftftreciate true motion photography — the tyf>e
of photography that becomes a living force. Con-
sequently he is able to feel that the picture is
sneaking right out to him in its own incompar-
able language. Incidentally, it is a language
which can be understood in any country, since
it establishes perfect pantomime brought forth
from a perfect motivation of f>lot.
Cinematic Art At Its Highest Peak
OO "Variety" expresses
*^ cinematic art at its high-
est development. The film
audience outside of the
circle of "fans" will be able
to understand its top stand-
ard of technique. The intel-
ligentsia may come to scoff
but they will depart highly
respectful over the depth of
understanding it conveys.
The picture hasn't a weak-
ness. It is especially well
handled in regard to its
camera angles. It, more-
over, contains an interest
and appeal for every type of
patron everywhere. Its dif-
ference from our mass of
pictures lies in its superb
construction, plus its pains-
takingly clever presentation,
told in terms of life-like
pantomime.
54
Impression of James Kirkwood by Curzon
By L. R.
Jannings is Present
"\/TOST everyone is familiar with the name
** ■*" of Emtl Jannings. But he isn't "bally-
hoo-ed'' in Germany as he is here. The ad-
vertising medium which is the backbone of sell-
ing the picture to the public, has made our star
system what it is. The Germans have placed
him in their picture because they knew he rep-
resented the best man for the fiart. And the
Americans have capitalized his talent. So here
he is giving another memorable study which
contains all the emotions that a human being
could possibly express and still belong on our
planet. Lya de Putti ts another who con-
tributes a most intelligent performance — a per-
formance of a dozen moods and shadings. She
is now in this country and Jannings is on his
way. Truly, America may welcome them.
It Was Coming to Him
A TESTIMONY of the high esteem that F.
"^ ^" W. Murnau is held in America was proved
recently when Fox Films tendered a dinner for
the director of "The Last Laugh." Highly paid
editorial writers, justices, admirals, generals,
professors, bankers — all fared forth to pay
homage to the genius who produced one of the
greatest (if not the greatest)
pictures of the screen. It
was a tribute to an artist and
his art — that representative
men from various walks of
life responded with such
deep regard and enthusiasm.
Herr Murnau registered
a humility befitting of all
men who have accomplished
something worth while. He
paid modest tribute to the
culture of Europe, but ad-
mitted that the energy, the
youth and the vital freshness
of America had awakened in
him a keen desire to catch
its indomitable spirit.
The German has qualified
as a thinker with real ideas.
Let us hope that he con-
tinues to give them the
highest expression. Unfet-
tered, he should do it.
BACKS
About Pictures and People
The James Boy
^\JOT strict' the days of the memorable Jesse
has a James earned on with such high
pressure as Gardner. J esse s exploits made
history — and many of them have been recorded
on the screen. Gardner James — no relation —
is forging ahead in quite a different way. Pos-
sessing a plastic expression of countenance and
endowed with a full share of emotional talent, he
seized his opportunity to demonstrate some
high-class Pantomime in "Hell Bent fer
Heaven.'
The Picture could not be called anything ex-
traordinary in plot or treatment, but among
those who contributed its points of appeal was
Gardner James, playing the role of a cracked-
brained youth. It was a sympathetic role — and
this young actor extracted every ounce of sym-
pathy from it. As a result of his work, it was
Perfectly natural that he should begin to scale
the ladder. Barthelmess engaged him for an
ir.\portant Part in "The Amateur Gentleman,
and thru continuing his histrionic gifts Inspira-
tion has signed him to a five-year contract.
This is one instance where true merit has
been appreciated. He had to work hard — did
Gardner, but when his chance arrived he seized
it and Put himself over. To
prove that romance isn't en-
tirely dead, the young Irish-
man reached Hollywood just
a year ago after a most ad-
venturous life at sea. At
one time in his eventful
career he was a juvenile
actor, but the gods of
ThesPia didn't smile kindly
on him. So he sailed the
seven seas — and while he
sailed he absorbed life. He
left the rolling decks with
the necessary Poise and con-
fidence to take him along
anywhere . In our opinion he
is the most Promising cellu-
loid "find" that has stalked
across the silversheet in a
couple of seasons. He should
be allowed to develop grad-
ually and not thrust into
stardom too quickly.
T
Impression of Lon Chaney by Taskey
Types Have Changed
1 PES li.ivc truly changed in the m<>.
Not so very long ago — well not any
farther than the last mauve decade — it was
the logical plan among producers to select
an Adonis to play some character role.
Tradition had it that the audience would
never countenance a player whose face
might violate the best standards of the sculptor.
It might pass muster if the owner was slated for
some comic relief.
Then look what happened? Along came some
realistic dramas calling for realistic types. And
Wallace Beery, "Bull Montana, Jack Curtis,
Kalla Pasha, Lon Chaney — to say nothing of a
host of others — popped up to show Mr. Adonis
that they "belonged.
Which is by way of introducing the latest
entry, Edward I. "Gunboat' Smith, the former
pugilist. Famous Players have given him a con-
tract in view of his colorful performance in ' Say
It Again," the Richard Dix picture in which the
"Gunboat" demonstrated his talented "dukes.
Smith's income is said now to compare favorably
with his prize-fight earnings.
According to all reports, the contract carries
the unusual clause whereby the document is
void if "Gunboat ' improves his looks in any
way.
This extract reads : "It is mutually under-
stood and agreed that the artist s engagement
hereunder is based upon his unique and indi-
vidual features and the appearance and condi-
tion upon a continuance thereof and the artist
hereby agrees that he will not cause or permit
any of his features to be altered by plastic
surgery or otherwise.
The "unique and indi-
vidual features and appear-
ance ' which the company s
production officials prize so
highly that they wish them
kept intact are the Gunner s
broken and flattened nose,
beetling brows that over-
hang deepset eyes, a wide
mouth and jaws that have
been walloped out of the
alignment intended by na-
ture in some of the most
memorable encounters with
Jess Willard, Frank Moran,
Tommy Burns and Battling
Levinsky.
Anita's Royalties
PICTUREGOERS are all
acquainted with the
name of Anita Loos. For
{Continued on Page 81)
55
HORSES, HORSES,
The Latest Song- Which Inspired This Title and
Prince of Wales in Mind. But He Is Not
Nags. There Is a Group Among
Who Delight in Flirting
Take the
Of course, everyone-
looks up to the
Prince when the
horse is brought out
of the stable. That's
just what Irene Rich
is doing in her effort
to see how he stays
in the saddle
International Newsreel
The Prince is unquestionably the most famous
horseman in the world. And everyone knows he is
simply crazy over horses — even when he pitches over
their heads. To give him credit, however, he takes
his falls for a reason. He is usually in the van and
galloping at top speed — and the horse may stumble,
y' know. On the right, Trixie Friganza shows the
Prince how to fall off a horse. She declares
the next horse she rides on she's going to be tied on
Fred R Morgan
56
_
Crazy Over HORSES
Display — Was Apparently Written With the
the Only One Who Is Nutty Over the
the "Horsy" Set of the Screen
With a Fall As They
Bridie-Path
At the upper right is Pauline
Starke, mounted on Billy — a
prize piece of horse-flesh
out Hollywood way. When
not galloping over the open
road, Pauline loves to gallop
into a close-up
In the circle is Bebe Daniels, who
can sit a mount with all the grace
and abandon of a cowboy. She
enjoys cantering in a well-shaded
bridle-path. The fair-haired rider,
below, is Allene Ray, who also ex-
ercises in the saddle. She gathered
plenty of experience in taking the
barriers thru her work in serials
The director sometimes fails to find
Seena Owen, below, when he cries
"Camera!" She is usually out try-
ing the Hollywood bridle-paths
Lilyan Tashman,
right, boasts
some smart rid-
ing-habits. She's
as crazy over
them as she is
over her horse
May McAvoy, below, isn't any
bigger than a jockey, but place her
in the saddle and she can do a
jockey's work
> Mack Sennett
BUT I cant take fifteen hundred words to write: "She
has nothing she considers sufficiently important to
say."
What's the matter when a lady wont talk? — and for
publicity, at that ! Is it because she's simply, dumb, and
really has nothing to say? Perhaps — but I am
one of those peculiar people who thought
"The Salvation Hunters" a fine picture,
and Georgia Hale's acting excellent.
And, again, one who sneered in a
sophisticated — or disillusioned
— way when the critics
failed to appreciate her
work in "The Gold Rush."
No, she cant be dumb, for
then my judgment would
be wrong — better the world
should end than that !
Maybe. . . .
Dig a little deeper, Dun-
ham.
For, when polite maneu-
vering fails to maneuver,
and leading questions fail
to lead beyond a "yes" or
"no," one must try another
tack — must, if he is of that
tribe for whom eating is a
better builder-up than fasting.
If, when one asks, "What part
are you going to play in 'The
Great Gatsby'?" the lady an-
swers : "I dont know yet," and
intimates that, furthermore, it
doesn't worry her much; what is
one to do ? Dig ! — perhaps even
deep enough to find out why
If one can !
Yes one can if one will be patient and try to coax her
into relating her experiences and philosophy of life.
58
HALE-
FELLOW-
WELL-
MET
Emotions Run Deep
T n "The Salvation Hunters" Miss Hale's emotions were
not a pretty, prim, and precious flower — as are those
of the elder Gish — rather, she grasped the roots and, con-
trolling them, let grow whatever would — straight and tall
or stunted and gnarled, as was decided by the sun and
wind of its environment. And she has continued in this
way.
From earliest childhood, she has been as she is now.
In the years of her schooling, for instance, she got along
very well — tho she never did her homework.
She never did her homework for the
thoroly sufficient reason that, at the
moment, she had other interests,
and would not waste her time
on any single thing that did
not fit in with them.
But, in case the same
thing held in the oppo-
site direction ! Here, the
main interest wrought by
her environment was to
learn. And she threw
herself into the work of
the moment with suffi-
cient vigor more than to
make up for the lack of
interest when other influ-
ences were working on her.
She Lives the Moment
and here we have it! "Live
the moment" is the key to
which all her life is pitched. When
the moment arrives, act as you see
fit ; not as you planned at some other
time, when you could not be aware of
just what this moment would contain.
doesn't worry
Georgia thoroly lives the moment.
It is the key to which all her life
is pitched. She has prepared her-
self to be natural. As a result,
everyone hails her as a regular
fellow
Georgia Hale Lives
the Moment by Being
Natural and Accept-
ing Gracefully What
Life Has to Offer
By Dunham Thorp
"If you plan beforehand, you see what
you thought, and then decided, you would
-.(■c, rather than what actually exists."
Nor does she think it much more profit-
able to look hack, and try to tit in your
present actions with your past — to try to be
consistent to an idea at the expense of that
truer consistency -the fact that nothing an
individual docs can possibly he inconsistent
with him who does it. even tho at times it
may seem inconsistent with the general
trend of his actions.
"1 always act as the actions of the other
actors, and the environment in general, make
me think natural.
'"What 1 mean is this: I never stop in
the midst of a scene to think that I am not
using the same twist of the hand that I used
two weeks ago. That wouldn't be life; the
actions of any moment are made by the
feelings of that moment.
No Mannerisms
"Mo villain always scowls and heroines
1 sometimes do."
"Then you dont believe in mannerisms?"
"No, no! — not at all! Certainly people
have them, but no actor should ever put his
own into the character of another person."
That's a fine observation, and one made
by very few of those who tread the boards
and screen — in fact, most of them act as
tho this were an edict of the devil. But it
should be modified enough to allow for cer-
tain quirks and traits in the character pre-
sented, so that the character will have in-
dividuality, and as a sort of cord to bind its
other, and more diverse, manifestations.
I know she does this, but how does it fit
in with her theory?
"But you gave a solid and consistent per-
formance in 'The Salvation Hunters' —
you always smoked a cigaret in the same
way. and your sneer was never different."
"Certainly ! I study my character suffi-
ciently to be at home in it — so as not to have to think
what she should do.
"But I didn't always sneer in that picture. I laughed
often enough, and in many ways — not only in derision.
"If you study your character well enough to understand
it, rather than study the actions of the different scenes she
is to appear in, you stand a much better chance of really
living her life.
"For, after all, if you are living the moment — and that
moment is one in the life of another person — you are
acting as that person would, rather than working out a
preconceived and rigid plan."
Kichct
Georgia Hale came into recognition thru her performance in "The Salva-
tion Hunters," and she lived her character so realistically that Chaplin
engaged her for "The Gold Rush." Her next appearance will be in "The
Great Gatsby"
The Business of Being Natural
"T'hen you never plan your scenes ahead of time?''
*■ "Never! I simply study my character until I feel
I have mastered it, and then act as circumstances move
me."
And as it is in one facet of her life, so it must be — and
is — in all. When she was a ballad-singer in Chicago,
Chicago was the world, and ballad-singing the world's
only occupation. And when she moved to Hollywood, it
seemed Chicago had never existed — the world now
{Continued on page 82)
59
Just to prove that Antonio Moreno is no slouch as a knife-
thrower he has coaxed Virginia Brown Faire to make herself
useful as a target while he executes his deadly shots
The latest vaudeville clowns to be recruited
for the movies are Al Brendel and his
feathery friend, "Bozo," the goose
The Screen Observer
A Director's Whims
MAL ST. CLAIR has become so capricious that
Famous Players can hardly keep up with his
whims and heart changes. He is admittedly their
most promising director, and yet as this is written he is
not scheduled for any picture. For months Mai had
expected to do "The Ace of Cads" with Adolphe Menjou,
but when the moment arrived he was so immersed in other
things that the picture was given to Luther Reed. Mai at
once decided to direct Thomas Meighan in "The Cana-
dian." He waited until the press-agents had blared forth
the news, and then coyly changed his mind, necessitating
a flood of denials. Now I hear that Gloria Swanson is
contemplating making one more picture for Famous Play-
ers, and if she does this, Mai St. Clair will direct her. It
is all very uncertain — but, of course, a man as brilliant as
St. Clair is privileged to act like a prima donna for
awhile, while his success is still new.
A Real Uncle Tom
The era of the negro in motion pictures has been in-
augurated by Carl Laemmle. He has signed Charles
Gilpin to play Uncle Tom in the new version of "Uncle
Tom's Cabin." Gilpin is famous on the New York stage,
especially as The Emperor Jones, and Universal has
been angling for him for several months — ever since
Harry Pollard started production on "Uncle Tom's
Cabin."
The picture has been greatly delayed by Pollard's ill-
ness, and in the meantime the effort to sign Gilpin has
brought results, and he will leave for the Coast at once to
begin work under Lois Weber. Miss Weber took time
out from her work for a wedding and a brief honeymoon
with Captain Harry Gantz, and is all ready now to com-
plete "Uncle Tom's Cabin," as Harry Pollard's substitute.
60
To my knowledge, Charles Gilpin is the first of his
race to be given an important role in pictures. But he will
not be the last, for both Cecil De Mille and Monta Bell
seem bent on making pictures of negro life, and Josef von
Sternberg also yearns to direct a drama of the colored race.
Mrs. Cheyney in Celluloid
Jesse Lasky bought the screen rights to that clever come-
J dy, "The Last of Mrs. Cheyney," and then couldn't
make up his mind whether to use it as a starring vehicle
for one of the gentlemen or one of the ladies of his com-
pany— as it was equally appropriate for either. So he
solved, the difficulty by doing both. Florence Vidor and
Adolphe Menjou are happily cast in the leading roles, but
production will not start until the stage version has fin-
ished its runs in New York, Chicago, and points west.
Meanwhile, both these stars have plenty to occupy
them. Florence Vidor is starting work on "Captain
Sazarac," and Adolphe Menjou tells me "The Ace of
Cads" is about ready to go into production. He recently
spent ten days, with his director and scenario writer, at
Hot Springs, whence he returned with the script and a
very becoming tan.- Unless Mr. Menjou's famous en-
thusiasm has utterly carried him away, this is going to be
a very good picture, and the memory of the departed
Michael Arlen will be revived more honorably than it
recently was by "The Dancer of Paris."
Take That and That and That
"\X7illiam Boyd has been slashed with a razor blade —
^ not in an attempt to commit suicide for love of Clara
Bow, or anything like that. William eloped with Elinor
Fajr several months ago, and they might have lived hap-
pily ever after that if it hadn't been for Joseph, the Phili-
pino boy who did the chores around their house. He
disappeared about a month ago, and then William dis-
Here is how Norma Shearer will look when
she appears as a woman lawyer in "The
Waning Sex." She got her pointers from
visiting a feminine judge's court
To play Buffalo Bill you've got to look and ride like him.
That's why Jack Hoxie will play the part in "The Last
Frontier." His horse, "Scout," is almost an exact counterpart
of the one ridden by the noted Westerner
Has Her
covered that lie had forged about five-hundred-and-
seventy-five dollars' worth of checks.
Naturally, when the Boyds and a friend of theirs saw
Joseph on Wilshire Boulevard one day, they stopped to
inquire politely what he had done with the' money. Joseph
resented it. He whipped out a knife and a razor and
attacked the two men, inflicting a few minor cuts. Of
course, after all William's fighting experience in the mo-
\ ies, he got the better of him in the end, and Joseph is now
awaiting trial for forgery.
Two Bright Scholars
Two of Metro-Goldwyn's recent releases have brought
good fortune to their players. Francis X. Bushman, Jr.,
that fine upstanding whole-wheat boy who played 'William
Haines' rival in "Brown of Harvard," has been given a
five-year contract by Metro as a result of his work in that
picture, which will make him a most excellent provider
tor his wife and child.
Then Bessie Love, who has wandered a little aimlessly
among the studios in the past few years, has been recog-
nized for her fine work in "Lovey Mary," in which she
out-Pickforded America's Sweetheart. Bessie is now
considering long-term contracts with both Cecil De Mi'.le
and First National, I hear.
Flaming Youth Conquers
A nother bit of news is that Clara Bow is to be starred
by Paramount. Ever since Clara bobbed impertinently
out of the stowaway's barrel in "Down to the Sea in
Ships." she has never ceased to make an impression on
the industry and on the public — even tho sometimes it
has been a most disagreeable one. She has probably suf-
fered more than any other girl on the screen from bad
taste in clothes and in make-up, bad roles, and lack of
restraint. Yet her flaming personality has triumphed
By
Elizabeth Greer
over all these drawbacks, and she has emerged as a really
fine actress. Clara has an earthy quality that is rare
among our screen luminaries. She has what in a man
would be termed virility — and lately she has displayed
another talent — a great comedy sense — which, Paramount
realizes, makes her star material. Her latest performance
is in "Mantrap."
Marital Murmurings
Oints drift in from the Coast that Bebe Daniels may
succeed Marilyn Miller as Mrs. Jack Pickford.
Everyone has known for a long time that Marilyn and
Jack could hardly call their marriage one of those ideal
ones that the film colony loves to boast of. And before
Bebe went away to college to make "The Campus Flirt."'
she and Jack were together enough to cause comment.
But that doesn't really prove a thing, for Bebe has been
commented on so many times, and Jack is quite a beau in
his way.
Other reports from the marriage marts this month re-
veal the approaching marriage of William De Mille to his
scenarist, Clara Beranger. The wedding will be delayed
for a time to allow both the bride and groom to take the
necessary precaution of divorcing their current mate>.
They have been contemplating this move for some time,
and I do hope they'll find it was worth all that trouble.
They're Calling It Barbara Worth
I maginf. a piece of land about eighty miles long and
twenty miles wide, almost as level as a billiard table,
covered with light gray dirt with scarcely a blade of
grass or other foliage except on the distant mountain-
that border this immense plain and you have the desert
on which Samuel Goldwyn is filming "The Winning of
Barbara Worth." There is not a drop of water anywhere
{Continued on page 91)
61
Goethe's immortal tragedy,
"Faust," has finally been
visualized on the screen and
its American premiere, which
takes place in October, will
be anxiously awaited by
picturegoers who worship
art in the movies. The
Germans have approached
the work with deep rever-
ence as well as with char-
acteristic fidelity to detail.
The film achieves another
fine honor for Ufa in its de-
termination to create some-
thing distinctive and note-
worthy in celluloid
With such dramatic opportuni-
ties available in "Faust, ' it was
necessary to secure the finest
talent. Naturally, Emil Jan-
nings was selected to play
Mephisto, a role which should
win him further laurels. The
eminent actor appears in char-
acteristic poses at the top and
at the left, while at the upper
right he enacts a scene with
Yvette Guilbert, long recog-
nized as one of the most
talented actresses in the world.
Mme. Guilbert appears as Martha.
At the lower right are Gosta
Ekman and Camilla Horn as
Dieterle and Marguerite
Jannings
and I
FAUST
Vis
X \
■HHM
Ufa
62
FLIV and Let FLIV
There were no traffic regulations in the
early days of the flivver and the bike.
When the boys trotted out their horse-
less carriages or their wheels and gave
the girls a spin up and down the road
you could depend on the idlers step-
ping out of the pool parlor to give them
the once over. Transportation has
surely progressed in the last twenty
years, but the comedy gagmen must
rely upon these goofy autos and bikes
to bring the laughs
There are no laughs in the modern snappy
car, so you must hand it to the gagmen for
lugging out these weird contraptions. At the
top Jimmie Adams takes Vera Steadman for
a spin in his one-cylinder horseless carriage
At the left center Jimmie is trying his
"darnedest" to stop the fliv' to avoid crashing
into the gasoline buggy occupied by a
petting party. On the bicycle built for five
are Molly Malone, Kathleen Myers, Billy
Bletcher, Jimmie Adams and Roy Weston
63
The Answer
Replies to CLASSIC Readers
Jeanne M. — Here we are, right
in the midst of the hot summer, and
it sure is warm in New York. So
you like Ramon Novarro best of all.
Just be patient and you will see
"Ben Hur." We had to wait a long
time to . : it in New York.
Florence H. — So it's Francis
Bushman, Jr., that you like. He is
married to Beatrice Dante — they
were married July 10, 1924, and have one daughter, Betty. Ad-
dress him at Metro-Goldwyn-Mayer, Culver City, California.
Palm a B. — Just you wait until you see Rudolph Valentino in
"The Firebrand," from the story of the life of Benvenuto Cellini.
He was born m 1895. You want to know if Tom Mix and Ramon
Novarro are Italian. I doubt it. I'll see what I can do about
getting more on Ricardo Cortez in the Classic for you.
Verne H. — You refer to Clive Brook in "Three Faces East "
Yes, Raquel Meller has been signed up by Chaplin to play the
Empress Josephine to his Napoleon in a picture to be produced
some time in 1927. And this is serious, too.
Lily N. P. — Well, I'm glad you did write to me. That's what
I'm here for, and if you didn't write I wouldn't earn my $15.00
per. Yes, I still live in the little old hall-room. Norma Talmadge
was born in Niagara Falls, New York, May 2, 1895. She is
5 feet 2, has dark hair and eyes. That was Jack Mulhall in
"Within the Law."
Mary L. — You want to know who the banker's son was in
"Headin' Home." Sorry, but I cannot help you this time.
Royal 17. — Well, it is easy to find fault if one is on the lookout ;
•but some people would discover a far greater number if they were
on the look-in. George Hackathorne was the son in "The Lady."
Madge Bellamy and Edmund Lowe have the leads in "The Monkey
Talks."
A. Elizabeth S. — Well, I'm glad you like me. I like you, too.
And now Cecil De Mille is trying to get Gloria Swanson to play
the Magdalen in his film version of the story of the Christus.
Mr. Shean's Partner. — Absolutely, Mr. Gallagher. I'll have
to go down to your house and rent that room, mine is pretty warm
these days, even if I have so many fans. Well, to settle that argu-
ment, it was Constance Talmadge in "East Is West."
Gloria, Australia. — How are things down your way — pretty
cold? No, Bebe Daniels is not married. Richard Dix in "The
Quarterback."
Jerry A. — Various myself, I like all varieties, and therefore I
like you. John Barrymore's first for United Artists will probably
be "The Vagabond Lover," which is based on the life of Francois
Villon, who is the subject of the play "If I Were King," from
which the picture is derived. Write me again any time.
Juana. — Well if you are 5 feet 8, and only 14, I wonder what
you will be when you are 20. I'd give up the idea of pictures for
some time yet. So you think William Boyd is adorable. He is
28 and married to Elinor Faire.
Ima Frade.— So you have finally picked up courage to write me.
You say your father is Heeza Frade, the big needle and thread
man from so and so. And you dont care to ask about the num-
ber of teeth Lew Cody has filled, neither do you want to know
whether Lloyd Hamilton wears double grip garters, but you do
wahtto know if I am married. Well now, that's not such a very
hard question to answer — I'm not. Milton Sills is playing in "The
Legionnaire."
Ole. — It was Agnes Ayres who was once known as "The
O. Henry Girl" because she played in 25 O. Henry stories for
Vitagraph, and her first starring picture was "The Defeat of the
City" in 1917. She is 5 feet Ay2 inches, blonde hair and blue eyes.
THE ANSWER MAN is at your service. If you
want an answer by mail, enclose a stamped addressed
envelope. If you wish the answer to appear in THE
CLASSIC, write at the top of your letter the name
you want printed, and at the bottom your full name
and address. Address : The Answer Man, Motion
Picture Classic, 176 Duffield Street, Brooklyn, N. Y.
Bob Custer Fan. — Wallace Beery
was born in Kansas City and stayed
there eighteen years, so perhaps you
used to play marbles with him. He
first played for Essanay, next Uni-
versal and then Keystone. He is 72
inches high and weighs about a tenth
of a ton. Bob Custer has brown
hair and hazel eyes, he is 6 feet and
weighs 170 pounds.
Eveline. — Well the highest praise for a man is to give him
responsibility. Norma Talmadge was born in America as I have
said up above. Edmund Lowe is married to Lilyan Tashman. Yes,
Esther Ralston is married to George Frey. That was Walter
Pigeon in "Mannequin." _ Dolores Costello was born in 1906. No,
Dolores is not married. Betty Bronson in "The Wearing of the
Green." She's a little early, or should I say late.
Bebe. — Opinions are largely formed from observation, but all
observers stand upon different peaks. Your peak may be higher
than mine, but I may see down into the valleys which your eyes
have never scanned. Neil Hamilton is with Famous Players,
Dolores Costello with Warner, and John Barrymore with United
Artists. So long, Bebe.
Ima Flirt. — You better not be. Your flatterer may love you
some, but he probably loves himself more. So you like William
Boyd. Conway Tearle is playing with Irene Rich in "My Official
Wife."
Babe. — Greta Nissen, besides playing on the stage in "The Palm
Beach Girl" for Zeigfeld, is to make three pictures for First
National next fall. Not so bad. So you like Constance Bennett.
So do I.
Pat. — Sure enough, Buster Keaton never smiles. He told
us all about it in the June, 1926, issue. Claire Windsor in "Tin
Hats."
Bobby B. Columbus. — Famous Players purchased the former
United Studios at 5341 Melrose Avenue. Hollywood, and are pro-
ducing there. First National has moved out and have their studio
at Burbank, California. You can reach William Boyd at the Cecil
De Mille Studio, Culver City, California.
Ena A. Birmingham. — Yes, Ronald Colman is married and
his wife is in England and John Gilbert was married to Leatrice
Joy, but they aren't now. Norma Talmadge was married
in 1917.
Eleanor. — Could I make you become an actress? Certainly not,
Eleanor. In other words, you want me to help you become an
actress. Forget it, and stick to your studies this fall.
Eda R. — Ronald Colman and Vilma Banky have finally started
work on "The Winning of Barbara Worth" to be released in the
fall. Claire Windsor is 5 feet 6,,and Dorothy Mackaill is 5 feet
4 and Mary Astor is- 5 feet 5. Doris Kenyon's next will be "A
Desperate Woman."
Bee from Schurz. — Ben Lyon was born February 6, 1900. He
has dark brown hair and blue eyes. George Walsh's second picture
for Excellent Pictures will be "His Rise to Fame."
Marie M. — Twenty-eight years ago, on September 12, Alice
Lake was born in this here little village of Brooklyn. Jane Novak
is playing in "Lost at Sea" for Tiffany.
Bootsy. — So this is your first offense at writing to an Answer
Man. Why Tim McCoy is a new Westerner who is playing for
Metro-Goldwyn.
Lucretia. — You say you are not going to give up wanting
Richard Dix. I dont blame you. Yes, I am sure he will write to
you. His mother has been very ill in California. Theodore Von
Eltz has been added to the cast of "The Temptress" in which Greta
Garbo stars.
64
Picture, Picture — Who Stole the Picture?
inlintti
Despite the wonderful work "t Belle
Bennett and (fanald Col man in "Stella
Dallas," seventeen-year-old Loil Moran,
,m uttei newcomer to the American
icreen, ven nearl) stole the show Vnd
Jean Hersholi took .1 verj small part,
that ■'! Ed Mutm, and made it something
which will long be remembered.
Some Who Worry the Stars
1- \ S.m.iI Celebrity," .1 Mai St Claii
' picture starring Adolphe Menjou, that
famous old comedian, Chestei Conklin,
comes close to stealing the picture in
a part that is more pathetic than it ii
funny. And speaking of Menjou, who
doesn't recall the manner in which he
sprang from obscurit) to stardom by
ng "A Woman of Paris," Charlie
Chaplm's directorial masterpiece right
from under Edna Purviance's nose?
I. Warren Kerrigan and Lois W ilson
Were lulled as the stellar lights of "The
Covered Wagon." but an "actor who was
comparatively unknown at the time,
simply "wrapped up the picture and
walked away with it." He was Ernest
Torrence, and the role was that of Hill
Jackson, the trapper. It won Torrence
fame and fortune. He is one of the
most beloved actors on the screen today
and one of the beat paid.
Another recent sensational case of pic-
ture-stealing was that of George Bancroft
in "The Pony Express." Despite com-
petition from such veterans as Wallace
Beery, Betty Compson. Ernest Torrence,
and Ricardo Cortez, Bancroft, playing the
character role of Jack Slade, the had man
of Julesburg, made the outstanding im-
l ression in the picture. From obscurity
it raised him to the role of a big fea-
tured player, and won him a contract with
Paramount which means many thousands
of dollars a year to him. And it might
be remarked that there aren't two tougher
hombres to buck up against in this pic-
ture-stealing business than Wallace Beery
and Ernest Torrence !
Xoah Beery is no slouch, either. He
walked away with honors in Pola Negri's
starring vehicle. "The Crown of Lies,"
which also included Robert Ames in its
cast, and reports are that he has simply-
wrapped up "Beau Geste." Paramount 's
stupendous story of the Foreign Legion
in Algeria, and taken it home with him
His competition included Ronald
Colman. Neil Hamilton. Ralph
Forbes. Norman Trevor, George
Rigas, and others.
Determined to find out the
exact manner in which
pictures are stolen, I
went to one of the
i/eteranest of veterans,
Wallace Beery- & ^F=°" ^7
How Wally Does It
'""The secret lies in
making your per-
formance outstanding,"
said Wally with a rem-
iniscent chuckle. "You
have to be a character,
and you have to ring
true. Your audience must feel that it
knows you. intimately. You must pro-
duce a positive reaction. If you are a
skunk, you must be a thorogoing one, with
a stripe down your back — the kind of per-
son one hates whole-heartedly. Yet they
must understand why they hate you. Such
a villain for example, was Roy D'Arcy in
Chester Conklin almost stole "A Social
Celebrity," and did steal "A Woman
of the World" away from Pola Negri
'The Merry Widow.' If you are a bum.
a happy-go-lucky character like Rhode
Island Red in 'The Pony Express,' you
must be a bum in every movement — not a
gentleman masquerading in dilapidated
clothes.
"As to the tricks of the trade, there are
many of them. One couldn't begin to
enumerate them. One of the easiest is
the old-fashioned upstage trick. The
natural impulse of the inexperienced
actor, whether on the stage or screen, is
to get as far forward toward the audience
as possible. The veteran will simply 'up-
stage' such a person.
"That is, if the two are in conversation,
the veteran will stop a couple of steps
behind the eager newcomer. Then when
the newcomer has to talk to the old-timer,
he will have to turn around to do it — and
his back will be to the audience or the
camera. You cant do very much acting
with your back.
"The way to take a scene is to do
moving about, 01
naturally watch him Ii
-■ on in tl
an .11 tnr in the ba< kgTOUl hil
hand up and down, yan <->r will
be attracted t" the motion In
manner when he ii allowed to .
with it an 00* 111
attention t"r himself when othi
wouldn't be noticed any more thai
i'ii the wall
" l he principal thing ii a bit of I
nets, In other words, motion combii
with humamtess. If you can be human,
if you can do some chari l
of acting which your audience in-'
ly n imething he ha
at home, at the club or at the sewing
circle, he will be attracted to it and
remember it, no matter what el*
going on in the scene.
The Champion Picture Thieves
''(")"• ,ncre are a thousand tricks .>f the
trade. My buddy, Raymond Hatton,
who, I might say, is one of the smartest
picture-stealers in the business, has a
bright trick of his own in all still pi
graphs. He always places himself at the
extreme right of the group that is about
to be photographed. When the picture
is taken, the position is reversed, that is,
in the printed photograph he is at the
extreme left.
"The names in the caption under a
printed photograph always read 'from
left to right.' and hence the first name is
always 'RAYMOND HATTON' That's
not very dumb, of the little shrimp — not
much!" And Wally gave a great chuckle.
Beery and Hatton are known as the
greatest catch-as-catch-can picture-steal-
ing team in the business. They are per-
fectly willing to take their chance with
all comers — or with each other.
In "Behind the Front," the rivalry', if
genial, was very keen, and these two
veterans employed every gag in the busi-
ness to take the various scenes away from
each other. They even tried upstaging
each other. For instance, just as the
cameras would start grinding, Hatton
would step back a step, to try to force
Beery to turn around. Not to be outdone.
Beery would link his arm thru Hatton's,
and pull him forward. To put a stop
to these antics, Charles Boyle, first
cameraman on the picture, resorted to the
practice of having a T-
square nailed to the floor
— where it didn't show —
for the closeups. Then he
made both Beery and Hat-
ton toe the mark, one on
each side of the T-square
o
Raymond Hatton is one of the cham-
pion picture thieves. With Wallace
Beery he stole "Behind the Front"
something that will attract the eye. Mo-
tion of any sort is the thing that attracts
the eye the quickest. If six people are
standing up in a room and one person is
Razzing Ricardo
\E of their stunts,
which they laugh
hardest about, occurred
when they were playing in "In the
Name of Love." Ricardo Cortez
was the hero of the story, and
naturally was the one most fea-
tured in the foreground. Beery and Hat-
ton determined to get his goat. During a
number of scenes they were supposed to
be talking in the background. Hence as
soon as the cameras started grinding.
Beery would lean over to Hatton and say
in a loud whisper :
"Now this guy Cortez, buzz . . . buzz
. . . buzz " and his voice would trail
(Continued on page 85)
65
The HOLLYWOOD of FRANCE
his character must be responsible For
here you have a mere boy — thirty, or
thereabouts — who has done picture after
picture on a staggering scale and with
superb mastery that has made motion
picture history. Such contributions to
the screen as "The Four Horsemen of the
Apocalypse," "Turn to the Right," "The
Prisoner of Zenda," "Scaramouche," "The
Arab," "Mare Nostrum" !
Such achievements have brought fame
and wealth at an early age. Let me add
that he is something of an Adonis. Now
a fellow like that should be spoiled by
this time. But he isn't — and that is an-
other big thing about him.
Ingram's Paradise
Prom my point of view, there are several
more paradisiacal points about the Ri-
viera than there are about Southern Cali-
fornia, and that is
saying a great deal.
The Riviera has the
climate, the flowers,
the sea, the hills.
The people there
live a natural arti-
ficial life instead of
Oe artificially nat-
ural life that one is
compelled to live in
California. By that,
I mean that one has
neither to break a
law nor a pocket-
book if one thinks
one would like to
serve one or more
bottles of genuine
spirit If one wants
to gamble — go to it,
the Casino is just
across the Prome-
nade or in the Place
Massena. The hotels
are filled with real
countesses, Russian
princes, terrible
Turks, British
lords with a strong
representation from
Ioway and Walla
Walla always on
hand. There's the
boardwalk just like
Santa Monica,
Venice and Long
Beach, only on the
Promenade des Anglais in Nice you will
find the whole world that the motion pic-
ture world attempts to represent on the
screen come to life! But in. Nice it is all
the rtal thing! You might think you
could walk up to that gink with the
Lawrence Dorsay mustache and yank it
off, but you cant. Both he and the
mustache are real. He's an actual Earl
of Pawtucket, or something. That fel-
low with the long black whiskers who is
a dead ringer for Charlie Chaplin's foil
on the screen, is really some famous
French savant and is dead in earnest about
it too.
An Arcadia for Artists
Mice, the Capital of the Riviera, is the Los
Angeles of St. Augustin, the French
Hollywood. The Riviera is the Mecca
of the European world. Nice is like a
miniature Paris with its multitude of bril-
liant shops, boulevards with the cafes
spread all over the broad sidewalks with
monocled men and chic foreign-looking
{Continued from page 33)
women seated before the painted tables all
day long sipping — do I disappoint you
when I say, cafe au lait, mainly. And if
one is really too bored, one may motor
or bus, tram or train it over to Monte
Carlo, only about fifteen miles away along
one of the most glorious stretches of
coast in the world ! At Monte Carlo, as
you know from the films, all sorts of
things are done — including yourself. That
is why people go there.
Finally, all that has been mentioned is
either free or shockingly cheap. It costs
five francs to enter the fashionable Casino.
Five francs are about sixteen cents. This
includes a free seat to a stunning musical
show, or when the show entr-actes, to
dancing. If you choose to drink — which
one cant very well avoid, since the only
seats you can find are before little, round
tables — you can get away with coffee, or
This is not a set, but the kitchen of Rex Ingram's studios over on the Kiviera.
The director has a chef who knows how to appeal to the inner man. He
doesn't take orders from the cameraman but from the steward
tea, and a brioche and a liberal French tip
and get back the change from a quarter.
If you are going in for anything spiritu-
ous under champagne, by the glass, you
can still use your quarter. If you want to
visit the Gambling Hell on the right, as
they always do in the stories sent in to
picturize, it will cost you an additional
seven cents to get in, but considerably
more to get out, however.
I have mentioned these few facts in
case you wondered why Rex Ingram and
his faithful band seemed to be staying in
such a God-forsaken place as Nice !
They Shall Not Pass
""There is a great deal of ceremony at-
tendant on a visit to the Rex Ingram
Studios. This is due to two causes : first,
nearly every American and a large per
cent, of foreign visitors in Nice consider
Rex Ingram and his studios a legitimate
Baedeker attraction. Something had to
be done about it. And second, Harry
Lachmann, Rex Ingram's dynamic per-
sonal and Production Manager, who is
perhaps one of the greatest red-tape
artists in the world. It is easier for John
D. Rockefeller to pass thru the eye of a
needle than it is for anyone to enter the
Rex Ingram domain.
The first time I went to the studios a
limousine and chauffeur were sent to my
hotel to take me. St. Augustin lies three
miles north of Nice. Half the distance
is along the Promenade des Anglais, the
fashionable shore front where are all the
big hotels and the villas of foreign nobil-
ity. The chauffeur they sent for me must
have been a taxi driver in Paris at some
time during his career, for he proceeded
to drive madly and homicidally along the
Promenade and head on at the traffic. His
chief delight seemed to be in trying to
maim pedestrians. Finally, when we did
get out of town, he contented himself with
trying to force the
speedometer to ex-
ceed its limit. I sat
watching it, fatally
fascinated, as it
mounted from 40 to
50, 50 to 60, 60 to
70, 70 to— I laid my
hand on the ma-
niac's arm and
pleaded,
"Qu'cst-ce que vous
desirez, monsieur?"
He laughed with
childish delight and
told me that it only
registered kilo-
meters, not miles. I
had forgotten that.
Still, we were doing
nearly 60 miles an
hour at the moment,
and I was in no
hurry.
Fortunately, we
left the main road
and were going
round sharp curves
up into the hills.
We passed the Gau-
mont Studio,
crossed over the
railroad tracks and
the fast Paris-Rome
Express going by at
the time, and made
a turn on two
wheels and were
brought before the gates of the studio.
Instantly the French guards — three of
them — sprang out of the little guard-
house and stood stolidly at the ends of
the enormous chain that barred the way.
A long and unduly excited conversation
followed wherein I was being explained,
almost unsuccessfully. It seemed I had
no pass ! However, I was admitted grudg-
ingly. We drove up to the Administra-
tion Building.
In Splendid Isolation
There were swarms of people all rush-
ing about on obviously important mis-
sions. Those who took notice of me glow-
ered at me. I felt d e trop. Finally, I asked
someone where I could find Mr. Ingram.
"Ingram ? You mean Lachmann !"
Still protesting that I did not want to
see Lachmann, but Ingram, I was shown
toward Lachmann's office. I was bent to
it by this time and I said I would like to
see Mr. Lachmann.
{Continued on page 87)
66
FACING DEATH For a LAUGH
( ( (mtmutd t'<>m pagt .ti i
Harold had the- nai
rawest escape from .<l
most certain death of
,iii\ time- in ins career.
\t the completion of
his climb up tut- side
i building, I 1<'mI
was t>> crawl along a
narrow ledge .it the
edge of the roof, where
Ins feet were t>> become
entangled in the ro[K- of
a flag-pole. Tripped bj
the rope, he was to
fall over the edge and
sw ink; feet down Need
less tn Saj . there was .1
small protecting net
under him. Even as
ess ,i stunt come-
dian as Lloyd h.is no
passion for deliberate
suicide. The rope about
his feet not only looked
loosely knotted, but
really was.
Lloyd miscalculated
the strength of his
swing, and was Swept
into space a full five
feet beyond his protect-
ing net. He felt the
rope about his ankles
begin to slip, and for
one frightful moment
he dangled there head
downward, helpless to
avert the disaster.
Then, pendulum like.
his body swung back
over the net just as the
ropes finally worked
loose — and he drooped
to safety, with less than
a yard to spare.
The Sky Is His Limit
r\oUGLAS Mac! bah
has gone even sky-
scrapers one better in
two of his pictures —
"Going L'p" and "That's
My Baby" — and has
literally made the sky
the limit in his laugh-
making efforts by-
using air-planes for the
thrill sequences.
A carefully staged
crash furnished one of
the best "gags" for
"Going LTp," a crash
that was supposed to
occur just as the plane
was taking off. A large
hole was dug across the
runway and filled with
soft mud. With Mac-
Lean in the back seat
and a pilot in the front
seat, both firmly strapped in, the plane
taxied at full speed down the runway,
struck the mud-filled hole, careened craz-
ily for a moment like a rampant cyclone,
then crashed with a thoroness even greater
than had been anticipated. Thanks largely
to Lady Luck's good offices, neither Mac-
Lean nor the pilot was seriously injured,
but the way the camera caught them rue-
fully rubbing bruises as they crawled from
the wreckage was not acting— it was the
real thing.
Harold Lloyd, at the top, supplied a typical thrill in "Girl Shy." He
grasped the tip of a trolley pole and was carried down hill at thirty
miles an hour. The stunt was successful with luck and perfect
timing. Below is Douglas MacLean who spent an entire afternoon
crawling perilously around the wing surfaces of a plane — while he
prevented Harry Earles, the midget who played the baby, from
jumping overboard
supposedly in an effort to retrieve an over-
venturesome baby whose wandering com-
plex had caused it to crawl from the
cockpit. The fact that Harry Earles — the
midget in "The Unholy Three" — played
the role of the baby man: it possible to
have trlost of the scenes photographed in
the air, some being made by a motor-
driven camera attached to the wing, and
others by a cameraman in the plane itself.
tins |ik tin*- i ailed
.t big. uiiAi.l.l, I'ull
man like auto trail*
its
''I at
In r.ikm ■ U | -• i| down
.1 tteep lull At the
tune 'ight, the
tiailir contained I »•
.Hid ball a <l'
ilme players
Not caring to take
any unnecessary risks,
the director had a Ik
wire, i ti visible in the
picture, attached be-
tween the trailer and a
windlass out of camera
range. The arrange-
neiit worked beautiful-
ly until the windlass,
with the usual ill-timed
perversity of inanimate
things, jammed ju
the trailer was at the
apex of its flight. Un-
equal to the sudden
strain, the wire snapped
like thread, and the
runaway became the
real thing.
Denny and the play-
ers with him hurriedly
decided that, rather than
court certain injury by-
jumping, they might as
well stick with the
plunging trailer and
trust to a near-miracle
to come out of the af-
fair alive. The near-
miracle happened and,
tho the trailer was
smashed into junk on a
big boulder near the
bottom of the hill, there
was not a single serious
casualty among its pas-
sengers.
Foxe Tells One
A wreckhi speed-boat
^^ gave Earle Foxe
plenty of excitement
and a fair amount of
physical damage during
the filming of one of
the Van Bibber stories.
"We were rounding a
buoy just off San Pe-
dro," Foxe told me
later, "and I was sup-
posed to gain several
yards on my pursuers
in another speed-boat as
we swung around the
buoy. Any motor-boat
racing enthusiast will
tell you what a thrill it
is to .whirl past these
markers, with one engine pounding straight
ahead, and the other in reverse, and the
Craft making anywhere from twenty to
thirty-five miles an hour. The water
whizzes past, the spray burns your face,
and the little boat trembles in every
timber!
"We were making a number of shots
and had no trouble until we made the third
dash past the buoy. Then I thought I
felt a sinister twist in the bottom of the
boat. It was a faint grinding, as if some-
Denny's Risks
In "That's My Baby," MacLean spent A BROKEN wire nearly caused Reginald thing had crunched loose. Right then was
an entire afternoon crawling precariously Denny a broken neck in making "Cali- when I should have told the pilot to stop,
around on the wing surfaces of a plane, fornia Straight Ahead." One episode in (Continued on page 79)
67
PAINTED PEOPLE
that mama as Camille was all. she could
endure by way of memory.
In a sense, too, she was somewhat re-
lieved about mama. She had looked so
peaceful after she had stopped breathing.
Yes, she was a little bit glad about it.
Now she wouldn't ever have to
feel that funny clutch at her
throat when she woke in the
mornings to see her mother
standing before the mirror rub-
bing ice over her thin cheeks and
muttering, "I've got to look bet-
ter than this . . . I've got to . . ."
Or that same cold clutch when
her mother and father would
interview some new ingenue and
her father would pinch the girl's
arm, turn her and twist her
around with hands that seemed
to loiter stickily over the job
. . . she hadn't been able to en-
dure the sight of her mother's
face at times like that.
Of course, she would miss her.
She would miss her frightfully.
Her mother had been sweet at
times. Times when papa had
been in the room every night
and when no new ingenues had
been forthcoming. At times like
these she had really seemed to
understand the afraid, hurt little
heart that was Jonquil's . . . she
would grab hold of her and kiss
her all over her little heart-
shaped face and say, "You poor
little kid, vou . . . you poor little
kid . . ."
Or she would gather her up in
her lap and rock her and tell her
stories about when she was a
little girl at home with Grand-
mother Rogers in a white house
that smelt of. lilacs outside and
lavender inside . . . heaven-
stories, Jonquil thought.
But, for the most part, Jonquil was glad
that mama had gone, gone out of the sight
of papa and the other things that hurt
her. Jonquil guessed that there had been
a lot of things . . .
As for papa, she hated him with a sort
of concentrated fury. She mixed him up
with her hatred of grease-paint. She
couldn't figure out whether papa was to
blame for grease-paint or grease-paint was
to blame for papa. She knew that she
had always hated him. .
Papa was known as a hail-fellow-well-
met, whatever that might mean. He had
a veinous, red face and curly, reddish
hair and very white teeth, one of which
was gold, and big paddy-shoulders, and
he wore very splendid clothes of plaids
and checks. He usually was to be seen
biting on a very thick, black, moist cigar.
He had a loud voice, too, and louder
laughter. He was always telling "funny
stories," judging from the shouts of
laughter that surrounded him when he was
among men and the thin, knifey shrieks
that surrounded him when he was among
women, as he usually was. He always
called women "little gull" or "darling" or
"sweetheart," no matter how slightly he
knew them and providing they wore sheer
blouses and make-up.
In some way Jonquil connected her
mother's deathly pallor with her father's
veinous flofidity. If papa hadn't been so
red, mama wouldn't have been so pale.
She remembered her father as Romeo.
(Continued from page 27)
And she often thought that if she had
loved papa she would have felt sorrier for
him as Romeo than she did for mama as
Camille.
There were lots of things she knew and
didn't know how she knew them.
Jonquil lived in a day-
dream world — a world
of whims and fancies.
She longed to be un-
derstood
^y
Papa as Romeo was still florid and
loud and veinous. He wpuld bellow forth
in mighty tones, "Oh, wer-ould I were the
ger-love upon that hand that I might
ker-iss that fer-ace I"
- She had always wanted to laugh' and
cry at the same moment. Papa going on
like that, with such bulbous eyes and on
his knees and everything, and mama
standing over him on the balcony, looking
so pale and loving. She knew that papa
would tell mama to "Shut up, cant you?"
in about ten minutes, and that mama
would cry herself to sleep because of
something connected with papa.
No wonder she hated it !
It always seemed too terrible to Jonquil
that mama and papa should be Romeo and
Juliet. So singularly terrible.
It didn't seem so bad when mama was
Camille and papa was her lover. After
all, when mama was dying as Camille, it
was in some way connected with papa.
That was as it .should be. It was his
fault. It wasn't quite so silly, even tho
papa did put his head down on the yellow
lace covering and pretend to cry by shak-
ing the pads in his shoulders and sniffling
thru his nose the same as he did when he
was shaving.
Oh, well, papa . . .
There were lots of memories connected
with papa . . . there was that character
woman who had been with the company
for five years. Just at first mama had
hated the woman. She had called her
"that Thing" and had cried whenever she
saw papa with her. Then, toward the
end, mama had become sort of friendly
with her, and Jonquil had come on them
once with their heads together, crying . . .
sharing . . . something . . .
One dreadful night after the evening
performance the character woman had
come into their room and had
shrieked dreadful things at papa.
She had seemed to put herself in
the same place with mama and
had said something about both
of them being "poor dupes" and
"discards" and other strange,
hideous names.
Miss del Riaz had been the
woman's name. Jonquil had
never liked her very much. She
had always grabbed hold of her
and kissed her, and her arms had
been convulsive and her kisses
sticky and thick. After that
scene, Miss del Riaz had been
seen no more, and mama had
warned Jonquil not to mention
her "in front of papa.''
Jonquil knew that mama and
papa hated one another and she
often thought that mama was a
very good actress indeed not to
hit him across the face when he
was trying to be Romeo and
smirking at her so that his gold
tooth glinted quite beautifully.
Jonquil had had little parts to
do. now and then. A child in
"East Lynne" . . . Little Eva . . .
pale, precocious little creatures.
Mama had told her that she
must always "enter into her
characters," and she had tried
hard. When she was Little Eva,
she could never manage to die
very sadly, because she couldn't
seem to feel that there was any-
thing so very sad about dying.
One died and went away amidst a throng
of fresh flowers and people dressed up in
their Sunday best and was laid away in a
field all neat and clean.
Papa always said, after a performance,
"The kid's got no temperament . . . she
takes after the Rogers, I guess."
Papa didn't know it, but when he said
that, Jonquil came as near as she ever
came to liking him. "Takes after the
Rogers ..." Oh, if she only did! If
only . . . the smell of lilacs outside and
lavender inside . . . heaven . . .
She usually had to cry on the stage and
she felt that she did that very well. She
was so frizzed and fussed and nagged
before she went on that she felt like cry-
ing, anyway, and it was a real relief to
be able to do so without having her ears
boxed. Of course, the audiences usually
laughed at her just in the wrong places,
and that meant that papa would slap her
when she came off, but she was so glad to
get off that she didn't mind the slap.
Mama usually said that she had "done
fine." And mama was the best judge . . .
having been a Rogers.
Mama often told her that she was get-
ting "good training" and that some of
these fine days she would play on Broad-
way ami have her name up in electrics.
Broadway, it would appear, was mama's
idea of an earthly Paradise . . . well, she
would like to see Broadway one of these
days, but it wasn't Paradise . . . Para-
dise was where Grandmother Rogers
(Continued on page 74)
68
The RISE of the LITTLE CINEMA
much t" make thai the) have to be teen bj
a lot "i people somehow
Like the Little Theater Movement
••\Y/ ng i" build up mi the frame
woik oi the Little theaters thruout
the country. In score! of cities thru- are
unall groups which are jerioush devoted
to the stage anil good ilr.itn.i l'he> have
theaters and fallowings We are intei
esting them in the bettei films with the
plan .it building them up mti) a distribul
iuK system on a small scale Program!
shown in our New Vork rheatei
will be shipped around tins cir-
cuit. To pay the expenses there
will be subscription showings.
In tins way, instead of being
seen by a few hundreds, our
programs will be seen by thou-
sand-
Symon Gould believes that the
work of the Film Guild will
eventually be of great value to
motion pictures as a whole. Re
rivals interfere in no way with
"the work of the big producers
and exhibitors. In fact, a new
market is created for films
which have been rolled up and
forgotten. In a way he is simply
taking advantage of an awaken-
ing interest in movies on the
part of another section of the
public. Small exhibitors with
their tiny financial risks can try
new ideas and experiments that
big organizations dare not at-
tempt. The very bigness of the
film companies has been against
their making rapid progress with
new ideas. Once there is a small
public of say ten thousand with
a developed appetite for new
ideas in pictures, or for tragic
or "serious" film works, it is
possible that new talent may be
encouraged along more adven-
turous lines. Men like young
von Sternberg, who turned out
the "Salvation Hunters" for a
few thousand dollars, might get
their chance for a public show-
ing much more readily.
Would the "little films" and
the "little cinemas" compete in
any way with the field of the
big companies?
New Ideas for the Big
Producers
itfi'mwd from ptgt 35)
i toe oi the moat enjo) able i
uas a showing oi old pictures "t ■ dosen
in fifteen yean bach antique*" the) had
become bj now Nothing could have bet
tei illuminated the big strides which
in. ivies have taken
urn the improvement in the taste oi the
general publii iUeli I he directors were
It is .mis thru looking at these old
pictures and comparing them with what
we have done since thai we will know Um
ti ue nature "i the moi nig i"1 ture
we know this, there will he lilnis that will
nevei grow old
Rhythmic Motion Esaential
Bright young men then, but their little PjUDLlY Miki-hv thinks that the
..:.i ._ -i„.„„... I Tl.... ...... I—' _u... l.i. _ .1
tucks were ic elementary I l here were
no "fadeOUtS." There were all sorts of
funny skipv and jumps Titlei took the
place "i action oi scenerj , everything
Mo, it was pointed out. N'o
more than the Neighborhood
Playhouse in New York com-
petes with the Shubert Theaters.
The one is interested in the art of the
drama ; the others in entertaining the
public. The latter have a public ten-
thousand times greater. But when the
little theater has an actor or an idea that
the public take up, the Shuberts will buy
them.
So with the Little Cinemas. Their risks
will cost little, and their discoveries of new
ideas (which anyone who has the interest
of the films at heart prays fervently for)
will be common property for the motion
picture industry and serve to liven up
things.
In the meantime the taste oi their high-
brow public, if it may be called such, is
very curious. Chaplin and Harold Lloyd
slapsticks are mingled with German ex-
pressionist films, and are equally liked.
Here is an impressionistic setting in the French
film, "The New Enchantment," with Jacques Catelain
standing on the steps. The picture was directed by
Marcel L'Herbier and is sponsored by Film
Associates
charactei oi the film is motion, or the
ili\tlini ..I things in motion. I r
ami tell something about Dudln Murphy.
Me is one ,,) the figUTCI m tin ait tilm
movement I lis revolutii
"Ballet "f the Machine"
! and hissed and laugh)
A lanky young man, s,,it silken
and risiOfUU") He is lii .me ta
whii h has absorbed the ■ ■
about modern art that are cur-
rent in Europe. But some
he may come back from his wild
exploit! and experiment^ to give
a vision of the great American
scene.
"New York, in fact, the whole
sweep of the American scene,
fascinates me," he said. "No-
body realizes how strange the
life that is going on right under
our noses is. I am trying to get
the fantastic speed and rythm oi
this jazz age into a film."
He is working now on a fea-
ture film of New York life. It
has never been done yet, as
Flaherty has done the Eskimos
or the South Sea Islanders.
Dudley Murphy, if he can work
out his ideas, may be heard from
in a big way.
His opinions are worth noting :
"One of the greatest films
made here was James Cruze's
'Hollywood,' Cruze came closer
to the very feeling of American
life today than anybody I know.
King Vidor is probably our
greatest director right now. The
first half of 'The Big Parade'
had some of the -finest motion
picture technique ever done. The
'business' between Gilbert and
Renee Adoree was marvelously
carried out and conceived. Vidor
has a miraculous sense of tim-
ing."
Worthy Revivals and New
Ideas
done in haste. A dummy instead of a man,
is thrown from the train in "The Great
Train Robbery" of fifteen years ago, and
he is very much a dummy, altho the train
is going at five miles an hour.
It was delicious to see Mary Pickford
and King Baggot, for instance, in "Going
Straight" (1913). The pantomime was
primitive. Mary Pickford very pretty, in
one of those wide-sweeping skirts, or
whenever you could see her face under a
huge bonnet. King Baggot most touching
as he claps his hand to his head or waves
temptation away with his other hand in
brisk gestures. That which was sad and
tragic is all fun now !
If only some of these old thrillers could
be revived with their titles touched up. They
would be the most side-splitting farces.
"The other "Little Cinema
group," the Film Associates.
is headed by a Mr. Montgomery
Evans, 2nd. Also an outsider.
A young man who likes to dab-
ble with the arts, and finds more art in the
films now than in anything else. The Film
Associates do more in the way of intro-
ducing new pictures than revivals. On
their programs have been some very curi-
ous French films, in fact, more French
than German. The French have lots of
ideas, and some great painters. Among the
pictures shown here, "The New Enchant-
ment." directed by l'Herbier, was a fake on
a detective thriller and built along the
crazy lines of "Dr. Caligari." It had the
aid of one of France's greatest modern
painters, Fernand Leger. in the making of
the sets, which were often very jolly. It
was received, however, with mixed feelings
and its authors showed on the whole less
natural genius for the film than the Ger-
(Continued on page 82)
69
GREAT ATHLETES of the SCREEN
Witzel
Richard Talmadge is one of the best
go-getters after stunts in pictures. He
is able to do his stuff because he's
equipped with the necessary muscles
world can not make a plausi-
ble Sandow of a flabby-
muscled parlor lizard. Rip-
pling biceps and flashing
athletic skill are things to
be bought only by honest
sweat, and plenty of it.
The leading athletic stars
of the American screen in-
clude some of the greatest
all-round athletes the world
of sport has known in recent
years.
An All-'round Champ
Take the case of Fred
Thomson, for example.
Thomson is one of those rare
athletic marvels that appear
only once in a generation, a
natural athlete who excels in
literally everything. Over-
flowing with vitality, and
blessed with a perfect phy-
sique and almost uncanny
powers of muscular co-or-
dination, Thomson first at-
tracted notice in the athletic
world while he was a student
at Princeton University.
The next ten years brought
him the highest honors that
any amateur athlete can at-
tain. He won the national ten
events championship of the United States
in 1910, and came back to win it again in
1911 and in 1913. Later, at the Inter-
Allied Games in Paris, he attained the very
peak when he again won the decathlon in
competition with most of the world's best.
It is to this amazing all-round athletic
ability that Thomson to a great extent
owes the startling film success that, in a
few short years, has advanced him from
a comparative unknown to an action star
rated in the five-thousand-dollars-a-week
class, and well worth it. Only an expert
with years of track and field work and
gymnasium training could possibly attempt
some of Thomson's film exploits, and live
to tell about it. Feats that to the average
athlete would be little short of impossible
are mere routine incidents in the day's
work to Fred Thomson.
"Lefty" from Yale
A nother action star who won national
fame before he ever thought of en-
tering pictures is Maurice "Lefty" Flynn.
(Continued from page 41)
once All-American fullback with Yale.
Tall, rangy, hard, and fast, Flynn was
one of the best Yale backs that ever
flipped a forward pass or crashed off
tackle thru a stubbornly fighting Har-
vard line when precious yards were
needed.
Today Flynn still keeps in the pink of
physical condition, not from a sense of
duty, but for the sheer love of it. Slam-
ming a medicine-ball around on the beach
and swimming in the surf are daily fea-
tures of his routine. He is also rated as
one of the best hand-ball players in
Southern California.
"Lefty" stands six feet two in his silk
hosiery and weighs one hundred and
ninety-five pounds, nearly every ounce of
which is solid bone and muscle. Not con-
tent with merely doing the physical feats
called for by the scenario, one of "Lefty's"
favorite recreations on location is to cause
incipient heart failure to bystanders by
adding little extemporaneous stunts of his
own.
Lumicre
George Walsh has long been recognized as one of the screen's
best athletes. While at Fordhajn College he indulged in all
kinds of sport activities, shining particularly well at baseball
and football
A typical incident of this kind occurred
recently while scenes were being filmed
on a cable carrier suspended at a dizzy
height over the rocky gorges of a mining
camp in the high Sierras. "Lefty" and the
villain engaged in a wrestling match in
the frail little carriage a hundred and
eighty feet above terra firma with a real-
ism that would have raised gooseflesh on
a cigar-store Indian. The director heaved
a sigh of relief when the shot was over
and the signal given for the carriage to
be drawn in.
But the worst was yet to come. The
wires jammed and the carriage stuck. Im-
pelled with a sudden daredevil urge, "Lefty"
decided not to wait till the tangle was
cleared. Leaving the carriage, he calmly
started hand-over-hand along the steel
cable toward the platform fifty feet away.
It was a feat more suited to a Japanese
gymnast than to a two-hundred-pound
American, but 'Lefty" made it.
Grinning at the anguished warnings of
the director, who saw visions of several
thousand dollars' worth of high-priced
picture star sailing thru space to immi-
nent and permanent ruin, Flynn took his
own sweet time on the journey and
seemed almost sorry it was over when his
dangling feet finally touched the platform
and safety.
George Wins His Medals
(^eorge O'Brien is another prominent
screen player who is a super-athlete
in his own right. George has the physical
build of a Greek Hercules, the lithe grace
of a dancing master, and the hitting
powers of a Missouri mule.
O'Brien is believed to be the only mo-
tion picture actor in this country now
holding a membership card in the Ameri-
can Athletic Union. George's record, both
he fore he came on the screen and after, is
a genuinely impressive one. He starred
as a halfback at Santa Clara University.
He holds enough medals won in amateur
basketball, track, field, and swimming con-
tests to fill a sizable cabinet.
While in the Navy during
the war, he won the middle- .
weight boxing championship
of the Pacific Fleet. Today,
swimming and other aquatic
sports are his favorites. He
is rated as one of the best
natators on the Pacific Coast,
having beaten many of the
fastest amateur swimmers in
local meets, and having
finished a close second to the
celebrated Duke Kohana-
moku on two occasions.
O'Brien trains as rigor-
ously as any professional
athlete. He is awake virtu-
ally every morning at five,
and is on the road at six. He
does three miles of road-
work with his trainer, and
then boxes from four to six
rounds. Other items in his
training include rope-jump-
ing, short-distance running,
shadow boxing, wrestling,
and hand-ball.
For his weight, George
has as magnificent a phy-
sique as any man in pictures.
His muscles are flexible and
(Continued on page 84)
Norman Kerry is a six-footer with the
powerful physique of the trained
gymnast. He is rated as an expert on
the parallel bars and flying rings
70
71
Hollywood's Pet Extravagances
(Continued from page 19)
have overlooked one or
two lesser cars parked
somewhere in odd
corners of the Mix
pstablishment.
Milady's Hats and
Shoes
Norma and Constance
Talmadge have pet
foibles that are about as
widely separated as the
human anatomy will per-
mit. Norma's pet weak-
ness is hats, and that of
Constance is shoes.
Norma can no more
resist the lure of a love-
ly hat than a kitten can
a sprig of catnip. She
may start out on a shop-
ping trip with the
avowed intention of buy-
ing anything from a
spool of thread to a town car, but it is a
moral certainty that somewhere along the
line she will acquire at least one new hat
before the afternoon is over.
Constance has a weakness fully as fatal
for shoes. She has footwear for every
conceivable occasion, and some for which
she has never been able to find an occa-
sion. Like Norma and her hats, Con-
stance has yet to make a shopping tour
without returning with at least one new
pair of shoes. Her trips to Europe usu-
ally end in a veritable orgy of shoe buying
John Ellis
Willard Louis, at the top, owns up
to a weakness for plants and
flowers. He buys rare bulbs and
shrubs from all over the world —
and frequently wins prizes at the
floral shows. John Bowers' ex-
travagance is an ambitious one.
In the center he is building a
$300,000 home on a Hollywood hill,
which will be occupied by him and
his bride, Marguerite de la Motte,
when it is completed. At the left
is Seena Owen who goes in for
pajamas. Her many acquisitions
are extremely exotic — and repre-
sent handwork from all parts of
the world — including the Scandi-
navian
from the bootmakers of England
and the Continent.
Shoes constitute a pet extrava-
gance rather often found among
theatrical and screen players. Two
other passionate devotees of foot-
wear in Hollywood are Olive
Borden and Laura La Plante. In
Olive's case, practically every shoe
must be made to order, which adds
appreciably to the expense involved.
It is inevitable that the various
items of milady's wardrobe and
jewel -box should rank as pet ex-
travagances with many
feminine players in filmdom.
The Fan and Fur Complex
Norma Shearer's pet
foible is fans, and «he na«
literally dozens of them. Shawls of
elaborate hand-worked designs are things
that Gertrude Olmstead can never pass
by without making a purchase. Her fa-
vorites are two beautifully brocaded silk
pieces which she had made in China to
her special order. Kathleen Key became
an addict to ear-rings while in Italy with
the "Ben Hur" company, and is still add-
ing to her extensive collection.
Helene Chadwick and Vera Reynolds
have really expensive weaknesses along
the wardrobe line, both being addicted to
furs. Helene goes in rather heavily for
fur coats, her present list including a
beautiful Russian sable, an exquisite
ermine, and a number of less expensive
wraps. Vera finds fur pieces of every
kind irresistible — neck pieces, jacquettes,
coats — and plays no fa-
vorites in variety.
Pearls, necklaces and
rings made of them,
are Aileen Pringle's
big weakness. Per-
fumes are the pet ex-
travagance of Jetta
Goudal, Alma Rubens,
and Lillian Tashman,
while Esther Ralston
is an insatiable flower
lover.
Faithful to their
Foibles
It is claimed that
Lew Cody never wears
the same neck-tie twice,
and this pet foible con-
tributes largely to the
support of a certain
worthy little tie shop
in Los Angeles. Rorl
La Rocque is a "nut '
on amateur photog-
raphy, and spends prodigious sums on
cameras, lenses, and high-priced printing
paper.
Pajamas are the rather unique pet ex-
travagance of Seena Owen. Many of
Seena's acquisitions along this line are
extremely exotic, and represent hand-
work from nearly all parts of the world.
There is a practical side to this foible, as
well. Miss Owen has several pajama out-
fits which are particularly adaptable to
studio use, and it is not unusual to see
her wearing one of them on the set or
round her dressing-room while waiting for
the director's call.
Dolls are Ruth Clifford's pet extrava-
gance. I made a little census of the
Clifford home not long ago; and counted
exactly forty - seven dolls. Ruth has
bought many times that number, but
whenever they become too numerous she
pays a visit to an orphans' home and
makes several children happier. Other
Hollywood doll devotees are Priscilla
Dean and Claire Windsor. Miss Windsor
has a really exquisite collection from all
nations.
John Bowers has just one extravagance,
but it is an ambitious one — a $300,000
home now being built on one of the hills
overlooking Hollywood. Marguerite De
La Motte is the prospective Mrs. Bowers
who will share the home when it is com-
pleted.
Rudolph Valentino specializes in dogs
and horses. He has five riding mounts.
and eleven dogs, the latest addition to his
kennel= being an Irish wolfhound pup
( ( ontinued on page ?°")
72
Wfflffi/ltfWSKJii^TJTfflHfiBJWitf.
Who Is the Best Dressed Woman
on the Screen?
Three Famous Dressmakers Make Amazing Statements and
Give Their Ideas on Dress
Madame Frances — Harry Collins -Maybelle Manning —
Those are names to reckon with in the world of fashion. A gown from their ateliers
costs hundreds of dollars. They dress prominent women in stage, screen and society
circles.
Whom do they name as the best dressed women on the screen?
Whom do they criticise?
What do they say about autumn styles?
And what do they advise?
Do not miss this remarkable and frank feature next month.
We Interview Gloria Swanson
By
GLADYS HALL and ADELE WHITELY FLETCHER
The double-interviewers, famous for their delightful one-act playlets in which they
cO'Star with the star, talked with Gloria Swanson. They asked her all the questions you
would like to ask her.
This is unquestionably the finest interview with Miss Swanson ever published —
and the most interesting double interview on which G. H. and A. W. F. ever collab'
orated.
For Married Women Only
An amusing and at the same time interesting story on the way in which the wives
of movie stars manage their finances.
Does your husband turn over his entire salary to you?
Do you pay the bills and keep the remainder of the weekly income for yourself?
Or does your husband pay the bills and give you an allowance?
Divorces frequently begin when there are family disputes about money. Read this
story in which several wives explain their several arrangements regarding money mat'
ters and the reason why they believe their plan is best.
VVVVSA<VN^^^^*N^WNIN^S^»SiN«^iVMwV
There Are Features in MOTION PICTURE MAGAZINE for the Whole Family
The October Number Reaches the News-stands September First
Reserve Your Copy Now/
73
'OMEDAY
smiling fortune will
escort you to the
famous
Cocoa nut
Grove1
at the
Ambassador
Los Angeles
There, beneath an
azure sky, graceful
palms and twink-
ling lights you will
dance, as you never
danced before, to
the most alluring
of dance music.
You are sure to see
many of the world's
most famous
^Motion
Tidturz-* Stars
In fact, at the Am-
bassador you are
sure of enjoying
California at its best.
Open Air Plunge,
two Golf Courses,
MotionPicture
Theatre, Pic-
nics, and every
outdoor sport.
Writer for Chef's
Illustrated
Cook Book
Painted People
(Continued from page 68)
,^j
''17-
2426
i urn mi mil mini tiw iiiiimiiii vin 11111 mn-nit nil «\i -mrm
She loathed it for all these reasons and
she loathed it because of other little girls
and front porches.
This may seem incongruous and irrele-
vant, but it was definite to Jonquil.
When the company hit town in the
morning and she did not have to be on in
the evening, she spent the day wandering
around the town. She strolled up and
down shady residential streets where there
were orderly houses with green lawns and
flower beds and garden swings and front
porches. Where were little girls of her
own age playing dolls or games or some-
thing. Little girls dressed in clean ging-
ham dresses and nice square-toed shoes.
Jonquil would walk along the sidewalks
in her dark silk dress, a little spotted, and
trimmed with lace ruffles, and envy the
other little girls ferociously.
Their homes. Their front porches.
Their mothers, in clean print dresses and
shiny, neat hair and pleasant, cool-sounding
voices. The smell of baking from an
open kitchen window, the tinkle of a piano
from an opened parlor window.
Jonquil connected elegance with a front
porch. She took an infinite amount of
pleasure imagining herself seated on one
afternoons, dressed in crisp white, looking
up from her book now and again to nod
pleasantly at passers-by.
Sometimes the little girls would see her
and stare at her, and once or twice they
called to her, but before she could open
their gates or set foot on their neat grav-
elly walks between the petunia borders,
their mothers or elder sisters would call
to them and they would turn away.
Once the company had stayed a week
in one town, and she had actually managed
to join two little girls at their play. They
had called to her and she had gone in.
Her heart and her hope had beat high.
She felt quite sure that they would like
her if they could get to know her. They
would find out how nice she was, really.
They would be amazed and delighted at
all the make-believe things she knew how
to do. They wouldn't need to know that
her mother was an actress. She would
tell them about her Grandmother Rogers
and the house with the lilacs and the
i lavender. She had thought about it so
much that she felt quite familiar with it.
They would surely like her when they
came to know her. It was merely a mat-
ter of takinp the first step. They would
probably invite her for supper and she
would see the inside of the pleasant house,
the rooms where the crisp white curtains
fluttered and the homey, happy sounds
came from. Their mother might pat her
head and call her a very nice child, indeed,
and ask her to come again. Once she
had made such a beginning, there was no
knowing where it would end. It might
lead to almost anything . . . being
adopted, perhaps. . . .
She had gone up the path as swiftly as
she could, walking against time. If she
could get to them before their mother
did. . . . She wished that she had on a
gingham frock and clean white socks . . .
at that moment she discovered the unde-
sirability of silk . . . later on, much
later on, the newspapers carried stories
about her "fad" for wearing ginghams
and linens and voiles even in winter . . .
but once she began to talk to them every-
thing would be all right. . . .
"Hulloa !"
"Hulloa !'*
"What's your name?"
"Jonquil."
"Jonquil zvhat?"
"I cant tell the rest. It's a secret."
(They might know if she told them . . .
they might know.)
"That's silly. It cant be a secret, a
name cant. Anyway, it's your daddy's
name first, not yours, so it cant be a
secret."
"It is, tho. Mine is." (All little girls
had secrets . . . she had seen them, in
little groups, whispering, bright eyes
glancing.)
"Is your daddy dead, then?"
"Yes." (What a lie! But to be dead
would be to dispose of him, to put him out
of the way, to throw them off the track.)
"Ohhh ... is your mother dead, too?"
"Yes." (Another lie, but she had to
stop them asking her questions. A few
more questions and they would find out . . .
Lillian de Vere . . . stock company . . .
juvenile lead. . . . )
"Ob, that's awful . . . that's too bad
. . . well, my name is Meg Travis, and
this is my best friend, Harriet Barne1-.
Harriet's mother nearly died last year
when the new baby came, but they saved
her with instruments. That's a secret, so
dont tell. Is that why you're dressed like
you are, because your mother is dead?"
"Dressed like what?"
"In that silk dress. It's not refined to
wear silk dresses in the morning. Your
mother wouldn't have allowed you to."
(Impossible to say that mama had made
the dress to wear mornings.)
"I guess so."
"Only Italian girls and colored girls
wear silk dresses in the morning."
This was difficult going. Jonquil was
dismayed to feel her eyes fill with tears.
Meg- noticed, thought the mention of
Jonquil's mother had been too much for
her, and changed the subject.
"Where do you live?"
"I dont live any place. I stay places."
This ought to score! She felt, pleas-
antly, that that was rather neat. "Stay-
ing places" had a real air to it. . . .
"I dont know what you mean. Haven't
you moved here? Dont you live in a
house? Dont you go to school?"
"Oh, no, I never go to school. I have
■ — I have teachers."
"Oh "
The little girls looked at one another,
considered, then they said, with notable
respect, "Are you very rich?"
"Oh, not so very. We had quite a good
season last year, but this year hasn't been
so__good. The movies are beginning to
cut in on us very badly. Some say that
the movies will be the ruination of stock,
and the character women are asking for
much more than they are worth."
Jonquil stopped short, bit her tongue
until the smarting tears actually rolled
down her cheeks. She had gone and done
it! The patter of the theater, of her life,
had overcome her again . . . the smell
of grease-paint seemed to rise about her,
a thick, malodorous screen, shutting her
off from the little girls, hiding the pleas-
ant house from view. Meg spoke first.
"Oh," she said, in a prunes-and-prism
voice, "so you are an actress. . . . Well,
goodness, I know mother wouldn't want
you here. Will you please go away?"
Jonquil walked half-way down the walk.
Her pulses were singing, her face was
fever-hot. She turned abruptly, passion-
ately, her voice was loud and shrill with
sharp pin-pricks of agony. "Yes!" she
screamed at them, "I'll go away . . . but
some day you'll wish you could know me
(Continued on page 80)
74
Three More Writers Indict the Films FREE 10-DayTube
■
A /<u/ : I
from his bool I he question
1 iocs he eai n it Or, again, \rt the
picture rights worth th< thai
paid foi them Some are, without
question.
It i> in\ firm conviction, thai il is
possible i" translate anj given stc
ever] mood and nuance, ever) essential
emotion fell bj the creatoi ol il from
the printed page into pictured portrayal
on the screen. That il is seldom done, is
quiti- true It i^ the superfine art in the
whole range of motion picture production,
that surpasses the art i>i the directoi 1>\
Km the art of the director would
become simplified if there were great
interpreters in the scenario departments.
\s it is so far, the directors are them
selves the greatest interpreters with a
few exeptions that the screen has. This
: .is it should be, because the average
director combines in himself the mechani-
cal marshaling genius and aspires to ai
heights and usually ends in .1 muddle.
The director's presenl autocratic powers
have been come bj honesth. on his part.
From the earliest days he has been called
uiHm to build a StOUt cable of entertain-
ment from a thin worn thread ot 1>1» >t or
. and in the majority of cases he has
proved himself a wizard for results. He
has learned literally to make something
out of nothing, so he and his collea
have learned to depend on nothing— revel
in their wizardry until they have come
almost to resent it when they are given
"too much" to build on. They feel that it
reflects on their prowess. They prefer to
• alone — to be handed a silk bat b\ the
author, as it were, into which they 1
two of their own eggs and produce an
omelette! However, too often, the poor
author gets his hat handed back to him
with the remains of a bad egg inside. The
audience does not know this, but audiences
are so gullible that the magician would
get the credit while failure is blamed on
the author and his hat.
And so I think that is where the diffi-
culty lies in the main between author and
director today. The director goes entirely
too far in depending on both his powers cf
creation and interpretation. Nor does the
aver. me novel go far enough. A Middle
Art is requisite in the writing of the
Continuity. We need rare interpreters —
such as June Mathis. let us say, and her
exquisite interpretation of "The 1
Horsemen of the Apocalypse." Here is
an instance in which everyone concerned
gained thru mastery of the art of inter-
pretation— author, director and producer.
I have come to the conclusion that there
ought to be a school for the education of
famous writers in the movies. Most of
them have not the least conception of
what they are driving at, what it is all
about. They fail to get the big idea be-
hind the motion picture, or to realize that
the motion picture has gone ahead of all
other forms of expression in reaching the
hearts and the mind of all the peoples of
the world, simultaneously. It sometimes
makes me feel glad that I am not a Great
Author after all.
1 v 11 CA8
\t length I -u it) In. I bun inn to tin
. t ..1 the iiidtiiin pit lure "I >h, tin
films are nol rock! enough, With all tin
moncj .mil othei kinds of wealth
pended on them, the) should lie infinitely
bettei So, believing that, l i li I
idle 1 1 ( 1c.1t ami t" laugh.
"I .1111 ut the opinion th.it the only lilin
st.H \ that should be i" < ented
tempted. Is the mie invented I'M the film
and never an adaptation and nevi
" I be best thing tin \ do is the .iipi I
natural. I nee, I larold Lloyd di i\
ing a trolte) car thin a crowded cit) gives
me mud] pleasure t'> see. The tilin
the link between poor inadequate human
nature and magic 'Theatre of the Deaf,'
I have called it somewhere. And that is
really its greatest boon one Can see with-
out havjng to hear what might be awful
sometimes."
BARONESS ORCZY
tation would smash the play - and that
really cam be thought of.
"Manx of my Dutch war stories were
done in the films; some very well, and
others- well, 1 have reasons for feeling
very much afraid of what might be done
story like 'The Scarlet Pimpernel.'
The plot is so complicated and the atmos-
phere so essential."
The Baroness told me this while sitting
at tea in her splendid villa, located in the
select section of Monte Carlo far up tin-
heights above the madding crowd, the
brilliant white bonis and the gambling
Casino. I'll" it was February, we were
ing out the window of her study on
her formal garden with all its wealth of
tropical foliage reflected in the pool or seen
thru the shimmering fountain playing in its
center.
" 'The Scarlet Pimpernel' was my sec-
ond bonk," she went on. "It was re-
fused by twelve, a round dozen, of
publishers. When it was first published it
sold exactly ninety copies. I was dis-
couraged and decided to make a play of it.
Julia Neilsen and Fred Terry liked it and
bought it. And that is how Fred Terry
came to have an interest in 'The Scarlet
Pimpernel.' "
All of which should be potently inter-
esting to the discouraged writer.
FORD MADOX FORD
them after what he had said about them.
We continued our talk that night when
he gave a party — one of the sort of par-
ties that are given only in the Latin
Quartier of Paris, where a score or more
of people drift in dressed as tho they were
going to a nonchalant fancy-dress ball —
only they mean it and dont mean to be
grotesque about it at all. Paris is so
amusing when it tries not to be.
Well, James Joyce was expected and
didn't come. But Gertrude Stein, author
of "Tender Buttons." did. And Gelette
Burgess, who gave us "The Purple Cow,"
and Louis Bromfield, author of that
cracking book of the year, "Possession."
was there. And a great many artists and
regular people and a good time was had
by all, I can assure you.
ARE you keeping up with all the goings-on of the stars in Holly-
wood? Eugene V. Brewster, Editor-in-Chief of the Brewster
Publications, contributes every month in the Classic, his impres-
sions of the players and productions on the Coast.
It's Film
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77
^oii carit hide a
poor complexion
COSMETICS were never iiv
tended to conceal facial blerri'
ishes, and the woman who
tries to cover up blotches, blackheads,
redness, roughness, etc., with a coat'
ing of rouge and powder, will find
the last state of her skin worse than
the first.
A dull, splotched, or otherwise
unattractive complexion is frequently
due to the wrong method of cleans-
ing. The pores have become clogged
and they are unable to function prop-
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lated by the pore-searching lather of
a pure soap and warm water.
You will like Resinol Soap for this
purpose — because it is different. The
first time you use it, the distinctive,
refreshing Resinol fragrance it gives
out will convince you that it con'
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lather almost caresses the skin as it
sinks into the pores and gently rids
them of their impurities. Then it
rinses so easily, too — leaving your
skin soothed, refreshed and soft and
pink as a baby's.
Resinol Ointment is a ready aid to Resinol
Soap. In addition to being widely used for
eczema, rashes, chafing, etc., thousands of
women find it indispensable for clearing away
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Ask your druggist about1 these products.
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Reg the Regular
{Continued from page 49)
while our clothing dried? Denny, of
course!
It was three days before we were able
to run the dingey thru the surf and re-
turn to the fishing-boat. Three days
during which we slept on the ground, sub-
sisted on fresh lamb stew seasoned with
lobsters and clams we dug at low tide, and
a can of hardtack Denny had thoughtfully
brought along.
All for the Fun of It
A nd who invented games to keep our
■^ minds off our troubles, who led us on
impossible treks over long-dead volcanoes
in search of the elusive wild boar, who
took his rifle and left his warm blankets
in the biting chill before dawn to hunt
the meat for our inevitable lamb stew?
Nobody but Denny !
Ah, there's a man for you !
I think to Reg Denny, motion pictures
must be just another thing to interfere
with his fishing and shooting.
And it's hard for me, knowing the other
side of the man, to reconcile myself to
seeing him as I saw him on the set at
Universal the other day, shooting his new
picture, "Take It From Me." He wore a
cutaway coat and striped trousers, a wing
collar and an impeccable boiled shirt and
patent-leather shoes.
He was the center of a massive set rep-
resenting a fashion show. Beautiful
women in all stages of dress and undress
surrounded him. He was affable, cour-
teous, polished, suave — yet bewildered in
that amusing fashion that is particularly
his own brand of comedy.
He watched while lovely models in gor-
geous gowns paraded to the edge of a large
tiled swimming pool, gave one vigorous
wriggle and dropped their gowns to reveal
themselves in bathing attire.
He obligingly registered astonishment
when he perceived a skull and crossbones
painted on the knee of petite Frances Dale,
who is one of the most promising of the
screen's new crop of actresses and has a
leading role in the new picture.
Yes, he was quite the man-about-town
on the set before the camera, was Reg
Denny.
But who, I ask you, was the first to rip
off the wing collar, tear off the boiled shirt
and kick off the patent-leather shoes when
the final scene was taken and he had
reached the shelter of his bungalow dress-
ing-room? You're right; it was nobody
but Reg Denny !
Just Like a Pal
T think it also speaks volumes for Reg's
character to relate that I found him
sharing his own dressing-room with Ben
Hendricks and Lee Moran. Not that there
is any shortage of dressing-rooms at Uni-
versal City ; there must be thousands. I
have known quite a few stars in my day
in Hollywood, but I never before saw one
who would share his dressing-room with
another player of less established standing.
He may be a product of merry old Eng-
land, but I cast my vote for Reg Denny as
the most democratic of the stars.
What we talked about while he was
getting out of his furbelows and into
good old rough tweeds doesn't matter
very much. It wasn't a lot of bunk about
his desire to make bigger and better pic-
tures, nor about his sacrifices for his art,
nor about his wife (Renee, a most charm-
ing and vivacious lady) being not only his
pal but his severest critic, nor about the
gorgeous set he had just quitted, nor about
the pleasure he finds in his work, nor
about any of the things that interviews
are supposed to be about.
If you want to know the honest truth,
we talked about the relative values of a
Dowaigac minnow and a Shannon lure in
snaring the wily bass, and whether a Blue
Dragon or a good old Coachman was the
best for salmon trout under given condi-
tions, and if a Hispano-Suiza motor was
really practical for a thirty-eight-foot
cabin cruiser, and all such rot as that. Not
interesting in the least, when you sit right
down and analyze them.
But all the time I was thinking about
other things.
Enjoys the Briny Deep
T>
'here was that other trip which ended
disastrously. A couple of years ago,
now; maybe three. Reg and Ben had been
out on the sea a night and a day and a
night, fishing. They were coming home in
the dawn with three hundred pounds of fish
in the tonneau of the car. A little girl ran
into the street on the outskirts of Hollywood.
To avoid hitting her, Reg threw the car
headlong into a tree. There wasn't enough
of the car left to warrant repairs, and
not much more of Reg. It was ten days
before they would let me see him, and
then I found him smoking a cigaret and
planning the sort of fishing-boat he would
build when he got well.
Then there was that other trip, just last
fall. Reg had, by that time, acquired his
boat. It was a cabin cruiser with a fuel
radius of three hundred miles. He notified
me when he was leaving, but I couldn't go.
Their objective, I knew, was a group of
islands off the coast of Mexico, approxi-
mately three hundred miles south of Los
Angeles harbor. They scheduled a stop at
Ensenada, en route, for additional fuel.
The morning after their departure, the
wind was blowing a gale. My home is
twenty miles from the sea, yet the storm
even there was terrific. It uprooted a
great tree in my yard. We all worried
about Reg, of course, but it is impossible
to worry very long about him. You al-
ways have the feeling that he will bob up
after a time, smiling.
A week went by, eight days, nine days —
and no word from them. They were long
overdue in port. Jim Mitchell, who writes
pieces for the paper, was in my office one
afternoon. He, too, was worried. "They're
gone," he said. "Our wireless reports
from the southern shipping sayr no small
boat could live in that storm." An air-
plane was chartered by the Universal
people and flew over the sea for miles with
no result. At the end of ten days even the
optimists conceded Reg and Ben and Hub
Lloyd, their companion, were down with
Davy Jones.
Then a couple of days later, or maybe
three, the Mexican telegraph brought a
laconic message. "Okay," it said simply,
and was signed "Reg." They were back
in port at Ensenada, and the storm had
blown itself out.
Later Reg told the story in a couple of
sentences :
"The storm held us back, and we ran
out of gas. We made a little cove and
anchored. A fisherman came by one day
promised to bring us gasoline when he re-
turned. He did, and that's all there was
to it."
The Boy in the Man
Qo that's Reg Denny as nearly as I can
picture him to you. It's the Reg Denny
that I know, and that you know on the
(Continued on page 83)
78
Facing Death for a Laugh
"7 )
Imt I didn't I didn'l know a- much about
its ihcn ai I do now
"When we lurched toward the buoj the
th time, I found "in what thai gi ind
was and I got it with a b tup, \\ i
prung t!i. and the i
end "i the craft dropped out from undci
i>t as we shot fifteen feet in the wake
of the buoy, I was abrupt I) parked there
in the water square!) in front of t In-
speed bo it. which was hammei
toward me at thirt) miles an hour. I had
no time to get even parti) out of the way.
The) tried their best to stop, and did sue
ceed in slowing down, but the boat
slammed me against that buo) so hard that
when tin' rescue squad finall) fished me
out they found thai I'd acquired a dislo-
cated shoulder and two broken ribs."
Making You Shudder
Deposing tl.it <>n his back on a steepl)
slanting board th.it projected several
feet from the top of a towering oil dei
and trying to appear nonchalantly indi
cut to tin- yawning void just under his re
cumbent form, gave Jimmie ^dams all the
thrills any sane man could possibly desire,
in the filming of a recent Christie comedy
with an oil-field locale.
It is obviouslv impossible to rig a safety
not on so skeleton a structure as an oil
derrick, and the shots were taken at a
near enough range to preclude the use of
concealed wire- or other similar appliance-.
Consequently, Jimmie hail to spend the
greater part of a memorable afternoon
clowning on his precarious perch and
hoping fervently that the property-man had.
been conscientious in nailing the hoard
securely to the derrick scaffolding.
Eight \ear- on the Mack Sennett lot
have naturally given Billy Bevan enough
thrills to fill a five-foot book-shelf.
"The nearest 1 ever came to death, tho,"
Billy told me one day, "was via the pneu-
monia route. When we were making
'Honeymoon Madness,' there were a lot of
rain scenes to be shot. No fooling, 1 was
dripping wet for three solid weeks ! I
couldn't even change to dry clothes during
the lunch hour. Before the three weeks
were over I felt like a cross between a
water-lily and a drowned cat.
"Only last week I had to walk along a
ledge on the sixth floor of a Hollyw 1
bank building, with my eyes shut, and clad
principally in a night-gown. I was sup-
1 to be a somnambulist, who walked
in his sleep, and tried to play golf on the
ledge. I didn't mind the height, but I
hated to wander around up there with my
eyes shut.
Buster's Nerve
Di stir Keaton has been called "the
little iron man" because of the chances
he invariably takes in his comedies. Height
stuff is a "little out of Buster's line, but
when it comes to knockabout thrills, he
will try practically everything.
Slugging toe to toe with an ex-pugilist
in a ring, getting kicked from speeding
trains, trying to ride a wild steer — they
are all the same to the indomitable Buster
so long as there is a possible laugh in-
volved with the thrill. Keaton has been
injured half a dozen times in the last few-
years, but the mishaps have shaken neither
his nonchalance nor his nerve.
Incidentally. Buster gives the danger
element as one of the possible reasons
his famous habit of never smiling on the
ii. "How is a fellow going to smile."
Keaton queries plaintively, "when he never
knows whether he'll spend that night safe
at home or in the casualty ward of the
nearest hospital?"
I
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Painted People
{Continued from page 74)
. . . you'll try to know me, and I — / wont
let you — there now !"
She heard a thin trickle of laughter fol-
lowing her . . . refined laughter.
After her mother's death things were
much worse. She no longer suffered
slights and insults at the hands of "nice"
little girls and their starched mothers, be-
cause she no longer permitted such op-
portunities. She had learned to be
ashamed of herself and of what she was,
and her instinct was to seek cover.
But there were other things. She trav-
eled alone with her father now. The one
advantage being that she was given a
room apart from his. She usually shared
it with the character woman ; occasionally
she had a cubby-hole alone.
Just at first she had slept in the room
with her father and then there were always
silly, giggly girls coming home and having
supper with her father in their room, and
if she didn't turn her face to the wall and
pretend to be asleep he threatened to box
her ears "then and there."
Of course, it didn't take much sense to
pretend to be asleep once she understood
what was expected of her. But it was
always just pretend, and she couldn't help
but hear him and his silly talk and silly
stories and the little rushing noises and
the high giggling of the girls in the room.
There was always a great to-do about
orange juice and cracked ice and a great
deal of talk about "This is the stuff" and
"Dont be a cold potato." At this stage of
the game, Jonquil decided that, silly as
papa was as Romeo, he was infinitely sillier
as himself.
She hated it more and more all the time.
She hated it so that she ached inside. She
hated her father with his red face and
white teeth. The one gold one. She hated
the new character woman with her mas-
caroed eyes and thickly reddened lips.
She hated the new leading lady, the one
who had taken her mother's place, who
was named Rosie and smelled of cheap
rose perfume.
She hated, with a vast and ever-swelling
hatred, the gritty little rooms in the gritty
little hotels. She hated getting up early in
the mornings and traveling late at night.
She hated china toilet sets and soggy
mashed potatoes and brown fried eggs
and everything she had ever known in her
whole life.
She was desperately unhappy. She
prayed that she could die. She even hated
her own face, pale, with little circles of
sleeplessness under her eyes. She hated
her frizzy hair and her silk dresses and
her long, embarrassed legs.
When she was nearly thirteen, her father
suddenly informed her that he was going
to take her to Three Trees, Massachusetts,
and "give" her to her grandmother. Her
mother's mother. Grandmother Rogers.
Jonquil was conscious of a wild pang,
first hot, then cold. First delight, then
despair, then a commingling of the two.
She said :
"Maybe she wont want me."
"Then you'll have to go to a Home," the
man said. "I'm going to get married
again, and Rosie wont want a kid tagging
after her. I dont blame her. Why should
she? Besides, you're getting too long and
lanky to do kid parts and, if you can do
anything, why should you stick around?
If you turn out to look like anything in
three or four years, you can join up with
us again and earn your own bread and
butter. Anyway, it wont hurt the old
dame to do something for you. Aint you
her own flesh and blood?"
Oh, she hoped so ! She hoped so. . . .
Jonquil, that night, lay awake until
dawn. And when the dawn came, it seemed
faintly tinted with rose, for the first time
in her memory.
She didn't honestly see why the "old
dame" should do anything for her and she
suspected that she wouldn't, but she agreed
with her father that it wouldn't hurt to
try. After all, even if it failed, there
would be the Home and nothing could be
worse than the life she was leading.
Really, a "home" had a sweet-smelling
sound. And it might have a front porch !
Papa "laid off" for three days between
towns, at great loss to himself, so he said,
and they journeyed to Three Trees.
At once Jonquil loved the look of Three
Trees. She felt passionately that she
never wanted to step foot out of it again,
not even to see the Leaning Tower of
something or other or the Obelisks, about
which the male "heavy" had tried to en-
lighten her when he had undertaken her
education a year or so before.
She felt that she would die if Grand-
mother wouldn't let her stay. The streets
were wide and shady. The houses were
white and green and spandy clean. They
were set far back on velvet lawns and
there were old trees over them, faintly
murmurous. There was no hotel, only an
"Inn," a larger, whiter, shadier-looking
place, and a little tablet tacked to a tree
informed those who paused that General
Washington had once laid his much-
pillowed head in the best bedroom of the
George Inn.
Papa inquired his way, and they walked
along the peaceful New England streets,
rather badly incongruous. Jonquil felt
that they were, and the ache of fear and
misery returned. Papa in his "shepherd's
plaid," his Elk's tooth, his gold tooth glint-
ing thru his moist red lips, his way of
walking, so actory. . . . She. Jonquil, in
the inevitable silk dress with lace ruffles,
a "picture" hat, silk socks, silly slippers.
Three Trees seemed to stand away from
them ... to draw back ... to be pre-
paring to eject them. . . .
The "old dame" lived in a white house
with green shutters, also set far back from
the street. It seemed heaven to Jonquil.
Flowers in neat flower-beds. White swiss
curtains swish-swishing in a lilac-burdened
breeze against scrupulous window panes.
A front porch. Geraniums along the rails
in shiny green boxes. All orderly. A
place to stay. A place to take root in, to
call home. She thought desperately that
this place would have none of papa and
her. They didn't belong.
The old dame herself came to the door.
Grandmother Rogers ! Spare and trim
and dressed in decent black. White hair
folded like quiet wings on either side of
her head. False teeth, of course, but a
rosy skin and faded grey eyes.
Grandmother Rogers (how dared he call
her "the old dame"?) looked at them,
accusingly. Jonquil thought. It was as if
she suspected who they were and was
asking them with her steely eyes how they
had dared. . . . Papa spoke first. In his
best manner. Loudly, with gestures. Jon-
quil hung her head for shame of him.
Grandmother Rogers asked him to step
inside. She asked it grudgingly, against
her will. Jonquil found herself alone — on
a front porch. She tip-toed over to a chair
{Continued on page 85)
80
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H. L. Mencken Breaks the
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•< tinned from page
I he m. .i all hi tin- mi > \ ie folk the \->'
scandals ili.u are constantly upsetting pub
lu digesti '.ill after -t pa
"1 know very little about them, ex
foi wli.it I read in tin- papers," In- replied
nil- ui' tin in. getting too much mo
seem tu carry on like American bus
nun at a trade convention That i-*, they
get drunk, fight, and ilis|<.nt themselves
with harlots. But certainly the majority
ui them do nothing of tin- sort Tin
haul working people, and take their work
\ ei j sei iousl) .
"1 can recall meeting two women ni.un
ul the films and unc man star." Ik- inn
tinned. "It would be hard tu imagine more
charming people, or decenter, I dont know
anything about them professionally, save
that they arc of dignified position. I have
never seen them on the screen."
"Have \ou ever seen yourself on the
screen?" I asked.
"No." It was >hort and emphatic. "Why
should anyone put me there?"
I admitted I was nonplussed, and tried
again. (You know even the cleverest in-
terviewer has to put his foot in it at least
once during an interview.)
On Salaries
"\Y/iiai- do I think of movie salaries?"
W he asked.
"Well, I think an actor, like any other
man, is worth whatever he can earn for
his employer," and I marvelled at the keen
judgment of the man, for not so long
\.dolph Zukor, president of Famous
Players-Lasky Corporation, had given me
the same cryptic answer when questioned
concerning the fabulous salaries paid to
stars like Gloria Swanson, John Barry-
more, and so on. Now Mr. Zukor's job is
the movies, and Mr. Mencken as you can
tell from what he has said, is remotely in-
terested in them, and yet he had hit upon
the answer to the whole question in the
twinkling of an eye.
Flash Backs
ntinued from page 55)
sricral years this bright young woman
has been uplifting the movies with her
witty subtitles or dressing up a [•lot or
three in collaboration with her husband,
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many a film story from going to a cold
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A bright little idea and some recogniz-
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"Gentlemen Prefer Blondes" is already
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furnishing the daily ideas for the cartoon-
ist. And a film will be made of the story
and play, and by the time you enter the
department store trenches for Christmas
you should have it on the screen.
When the idea finally outlives its use-
fulness and when the book-dealers finally
stop from tumbling over themselves in
wrapping it up for the customers. Miss
Loos should have earned scleral hundred
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The Rise of the Little Cinema
{Continued fro
mans do. I have no doubt, tho, that
American directors viewing this and other
films of its like can derive some new ideas
for their own work. That is, perhaps, one
of the most valuable things about a group
like the Film Associates. They too are
counting on a bigger and more ambitious
season, and will show "Rose Bernd," an
Ufa picture, featuring Emil Jannings,
Werner Kraus and Henny Porten, as their
first offering.
Another group headed by Joseph
Lawren and Robert A. Sanborn, have se-
cured the tiny Fifth Avenue Playhouse at
66 Fifth Avenue. Lawren is a publisher,
and Sanborn an old film hound, once as-
sociated with the scenario department of
Universal. They have taken over a
theater in Greenwich Village which was
started with the idea of giving modern
drama and will present in it only modern
films. Exhibiting rights to the "Cabinet
of Dr. Caligari" have been secured, and
they are counting on a long run.
It will be amazing if "Caligari" does
draw the public. Three or four years ago
it was a flop ; but taste has changed and
things that were impossible then are being
tried now. "Caligari" has been referred
to so many times by screen critics that it
has become a by-word and the public
knows much more about it than when it
was first shown. Its revival in a theater
of its own may have quite an effect.
Uplifting the Public Taste
'"The Little Cinemas are doing a great
deal of educational work among the
public and I know that their efforts are
being keenly watched by the big producers
and distributors. The "top-price" features
which Famous Players, Metro-Goldwyn
and the others have developed have done
much to raise the public taste. Their
greatest worry has been the changing
taste of the public ; it has been a night-
mare for them to spend millions catering
to some new fad or craze which will be
forgotten next season. Now it looks as
if the really great films of the past few
seasons have a permanent quality about
them that will not be put out of date by
some new fad. It is comforting to think
that pictures like "The Big Parade," "The
Merry Widow," "The Grand Duchess and
the Waiter," can be revived and exhibited
successfully many years from now. The
in page 69)
time is coming when certain feature films
will so have mastered their art that they
have the eternal value of, let us say, a play
by Shakespeare. They will not have to be
acted over again ; merely taken off the
shelves and revived.
The director of the International Film
Arts Guild has devised a code for the ap-
preciation of films. With this bright little
measure-stick you may decide infallibly
whether the movie you have just seen is a
"classic" or a nuisance :
Suggested Code for Critics
and Public
1. Faithfulness to the individuality
of the cinema art. To what de-
gree docs the film make use of
the particular intrinsic character
of this new art?
2. Story. Is it a mere transposition
of a novel or a play, or does it
attempt to create its tale in terms
of true cinema!'
3. Cast. Are they merely trans-
posed from the stage with all the
routine tricks of the stage, or
have they developed the art of
pantomime with a true and in-
spired talent'
4. Photography. Has the camera-
man made full use of his instru-
ment, extracting from situations
and groupings of characters cer-
tain "angles" and "shots" which
set off the scene and action most
vividly?
5. Composition. Have the group-
ings, backgrounds, arrangement
of objects, etc., been carefully
composed to support the full
significance of a situation? Do
the scenes etch themselves in the
memory, or are they merely
stereotyped?
6. Direction. To what extent has
the director utilized these sugges-
tions in his work? To what ex-
tent docs the picture hear the
imprint of his individuality? To
what degree docs it differ from
the work of any other directors?
Hale - Fellow -Well - Met
(Continued fi
revolved around the studio — or the very
scene — in which she was working at the
moment. And now that she has moved
from West to East. . . .
"I feel as tho I had lived here all my
life, and hadn't the slightest expectation of
ever leaving."
If it is so with places, how about people.
Does she strike up an acquaintanceship, be-
come enthusiastic, and, riding it to death,
drop all others — to drop it in turn when
another comes along?
"No. If I once like a person, I like
him always. I know when I first meet a
person whether I will like him or not }-ears
from now."
"Then you believe in first impressions?"
"Absolutely !"
But 1 started out to learn why she seems
never to worry about the parts that may
be assigned to her, nor even as to what pic-
tures they may be in.
"I have never been able to control events
om page 59)
— simply able to make the best of them
when they came along."
"But dont you become interested in some
part, and hope you'll get it?"
"Not particularly. I've always been
lucky when I've let things take their course
without trying to meddle.
"The only time things ever went seri-
ously wrong was the only time I ever tried
to make events take the course I, rather
than they, wanted."
"When was that?"
"When I tried to break into pictures. I
u ent out and attempted to be a regular
go-getter. I hung around, and pestered
people, and pulled strings — and never got
anything but the smallest 'bits' — and eight
weeks on crutches !
"And that made me realize that I had
been trying to work directly opposite to
the way my whole life had been molding
itself. So I brought up sharply, and
ceased to worry."
82
Reg the Regular
nlinued from page 7K)
icreen 10 nearly u the celluloid can j
that vil>! .uit personality, that radiating
vitality, that effervescence "i -.pint-, that
will make him always ju t .1 boj grown up,
1 think he knows how to play, now that
come, because he knew how
to suffer in the <>lil days. Hun- i-. one
storj l feel it necessai > t>> tell
Reg, of course, was bom in I ngland
and «'t theatrical stock. He toured the
world as leading baritone with the Ban
daman Opera Company, and was married,
by the way, in Calcutta, India. Later he
came to America and was to be starred
for the first tunc in musical corned] in
New \ . n k when tin- war broke out.
Naturally, he abandoned all Iti-. plans
and went to England to enlist But before
he went his friend, the producer to whom
he \\.i> under contract and who still func-
tions in New York, patted him on the
shoulder and cheered him on. ,r\ our show
will !«.• waiting whin you come back," said
he with throat> heartiness.
So Reg went to war, enlisting in the
Arti>ts' Rifles, and later joined the Royal
Air Force, from which he retired at the
end of hostilities with an enviable record.
He returned at once to New York to find
disaster awaiting him.
A Tragedy and a Happy Ending
I— lis wife had carried on with her stage
career until illness came. She became
desperately ill and. with her funds run-
ning low and no money except the meager
..How .nice from Reg's army pay, was in
desperate condition. When Ren reached
New York, her life was in the balance and
physicians conceded that only the greatest
New York surgeon could save her.
Reg was penniless.
He went first, of course, to the manager
who had cheered him on to war. He found
the office boy hostile and the manager's
door closed to him. He needed $1,000 for
the surgeon's fee. For days he went up
and down Broadway, to all those pals who
had stayed at home and prospered, and met
much sympathy but never a shekel.
He was desperate, mad. He forgot his
pride, told his story everywhere he thought
there might be a chance to raise funds.
He offered to work for $50 a week if the
manager, any manager, would advance him
$1,000. In two days everyone on Broad-
way knew his plight, but he received no
financial aid. And Renee, his wife, hourly
neared the crisis of her illness.
As a last resort he stumbled one day up
the steps to the office of Morris Gest,
whom he did not know personally, but
who knew of him. He was haggard,
worn, on the verge of insanity. He has
since told me that he had determined, that
night, to do away with himself if his list
chance failed. He could stand no more.
Morris Gest's office boy glanced at him
indifferently, but carried in his card. He
came back in a moment with a frown and
a piece of paper. "Mr. Gest says he is
sorry he is too busy to see you just now,"
he reported, "but he said to give you this."
He handed Reg the piece of paper. It
was an envelope. Expecting some scribbled
refusal, Reg tore it open. A check for
$1,000 fluttered to the floor.
Is there any wonder that Reg was a
committee of one to welcome Morris '
when he came to California for a little
holiday last fall? Or that he himself was
Morris Gest's chauffeur at any hour of
the day or night Morris Gest desired a
car? Or that Morris Gest has only to
command, and Reg Denny will obey?
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Great Athletes of the Screen
{Continued from page 70)
rippling — never buncliy. He weighs a hun-
dred and seventy-five pounds stripped, and
fills a sixteen and a half collar very snugly.
His chest measurement is forty-four
inches, and his waist thirty. He lives at the
Hollywood Athletic Club, where he does
most of his training.
A Struggle for Strength
CTew people know that Bill Russell, today
one of the most powerfully built men
on the screen, was given up as a hopeless
cripple when he was a boy of sixteen, with
one leg withered and useless and eight
inches shorter than the other as the re-
sult of a bad fall. The story of his phy-
sical rejuvenation has earned for Russell
the title of "The Miracle Man."
Discharged as incurable after four years
in the hospital, young Russell refused to
accept the doctors' verdict. Rigging up
an improvised exercising machine from an
old bicycle, he set himself to the task of
rebuilding his maimed leg. Fighting thru
weary hours, days and months with
almost superhuman fortitude, he won his
battle. \
He succeeded so well in making his body
whole again that seven years later he be-
came amateur middleweight boxing cham-
pion of New York State. Some time after
that, at a big sportsman's show in Madison
Square Garden, New York City, he was
voted second prize in a contest to deter-
mine the best-built man in America.
Today Bill's weight is around the two-
hundred mark, and there is not an ounce
of superfluous flesh on his magnificent
body. He is a veritable "nut" on physical
training, and works out for at least an
hour daily in his own private gymnasium.
Two or three times a week of late he has
been sparring six fast rounds of an eve-
ning at the Hollywood Athletic Club with
Gene Tunney, leading contender for Jack
Dempsey's crown, and is usually able to
give about as much as he receives.
Bill has proved himself a real-life hero
on more than one occasion. His most fa-
mous act of heroism occurred at the Gen-
eral Slocum boat disaster in New York,
in which twelve hundred lost their lives.
Russell saved twelve people singlehanded
by swimming to shore with them, one
after the other, and then secured a row-
boat and rescued a score of others. Even
Bill's native modesty could not dodge the
public attention that this thrilling exploit
attracted, and he was shortly afterward
awarded the coveted Carnegie Medal.
And Tyler, Too
■"Tom Tyler, Western star on the F. B. O.
lot, is another screen athlete whose
physical prowess is very distinctly not of
the artificial variety. Tyler had a good
build and very fair muscular co-ordination
when he took out a membership in the
Los Angeles Athletic Club, but no one
expected that he would develop into a na-
tional champion in less than a year's time.
That, however, is just what young Tyler
did. He was introduced to the weight-
lifting game and he took to the sport like
a sea-going codfish to salt water. He
arrived at the top of the local heap in a
few months, and then went after greater/
honors. He got them, and he has beefi
adding steadily to his trophy collection
ever since. So far this year, he has won
four major weight-lifting medals, includ-
ing the gold emblem of the grand national
championship.
His best records include lifts of two
hundred and two and a half pounds in
the "one hand clean and jerk" method, and
two hundred and seventy-three pounds in
the "two hands clean and jerk." Both
these lifts include raising the weight
cleanly to the height of the shoulders, then
jerking it to arm's length overhead and
holding it in that position for two full
seconds before returning it to the floor.
Tom is now going after several new
world's records, and will probably attain
them before many more months have
passed.
On the Athletic Roster
It was his splendid physical build and box-
ing ability that brought Reginald Denny
his first important picture role, that of
the hero in H. C. Witwer's "Leather
Pushers" series. Denny was well known
as an all-round amateur athlete before his
screen debut. He was one of the crack
fliers of the Royal Flying Corps during
the war, and soon became boxing cham-
pion of the Corps.
Norman Kerry is another six-footer
with the trim, powerful build of the
trained gymnast. In his school and college
days, Kerry starred in both football and
basketball, and was rated as an expert on
the parallel bars and flying rings.
Edmund Lowe also gained more than
average fame as an athlete when a student
at Santa Clara University. He was a
member of one of the first varsity teams
to play Rugby football in the West, and
also played on one of the fastest collegiate
baseball nines ever developed in this part
of the country. Today he keeps in trim by
playing a hard game of squash at the
Hollywood Athletic Club regularly.
Raymond Keane, Universal's new juve-
nile "find," was a high-school track star
in Denver, with a state-wide reputation.
He has a record of ten seconds flat in the
hundred-yard dash, and 24.4 seconds in the
two-twenty.
George Lewis, another new juvenile, was
regarded as one of the best all-round ath-
letes ever developed by a California high
school. While at Coronado High he was
a three-letter man, captain of the football
team, and high scorer of the Southern
California basketball conference in 1923.
This list of real athletes of the screen
might be continued almost indefinitely. It
is obvious that physical prowess, while far
from being the sole prerequisite to success
in pictures, is a highly important asset.
For the American public, while it may
occasionally raise a temporary furore over
the sheik and other bizarre types, in the
long run wants its heroes to be decidedly
of the he-man variety, with the lithe
muscles and the erect carriage of an ath-
lete, and the training and ability to make
those muscles really effective.
TJE sure to read about the players born under the Union Jack— who
are accomplishing big things on the screen. And do not miss the
story of the News Cameraman whose daring exploits keep you
informed of the current events of the world — in the October Classic.
84
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Picture, Picture — Who
Stole the Picture?
iftnw/d from pagt ■
..ii into an inaudible whisper. And Hat-
ton would repl) !
"It ivi i.imlv ii t idiculoua, but he h
noticed it yet, to why tell him that . . .
. . . Iiu//. . . .'" ;itul Ins voi< <■
would trail off.
Both knew the human weaknei
yone >'i wanting i" hear what is '•■
about him. Cortex was no exception,
and to strong was tins desire that a dozen
times he couldn't resist, even with the
grinding cameras, and turned his head
nl to try to hear what they
saying. Just .is soon as he <li<l, they,
and Eiatton, immediately threw in
a "bit i>i business" which attracted atten
tiiiti to themselves Con didn't tumble
For several scenes, to the fact that this
was an obvious game, Needless to say,
he wont be the victim of this old troupers'
trick again.
The Stars are Often Eclipsed
STAR h;is less chance of having a pit
ture stolen than anyone else, for a
tar predominates his or her production,
and generally has much to say during the
editing. Bui occasionally it does happen.
Several examples have been cited. ( hu-
nt the most recent cases is that of a young
man named Paul Kelly, who appears in
Thomas Meighan's picture, "'The New
Klondyke." Critics thruout the country
immediately hailed this newcomer as
having come close to Stealing man> scenes
from Meighan. That is, he is the one
that leaves the most lasting impression.
Of course, the various bits of motion.
and human-interest gags, vary greatly.
Ernest Torrence often pulls his nose,
'scratches his chin, or purses Up his mouth.
Lewis Stone pats his lapel. Lew Cody
pulls a white handkerchief out of his
pocket. Adolphe Menjou has a little
yawn of boredom, or a fascinating wink.
Dear old Theodore Roberts, who has
just returned to the screen after a long
illness, for years held the position of
"daddy of 'em all" in the picture stealing
business. His famous cigar was one of
his greatest assets.
He toyed with the cigar, rolled it from
one side of his mouth to the other, or
otherwise manipulated it.
A
Painted People
(Continued from page 80)
and sat in it, rocking. Once or twice a
neighbor strolled by, and Jonquil peeped
at them, almost daring to nod pleasantly
and casually — not quite daring. Not yet.
Not until she knew. Her heart was thudding
against her slender ribs. The way it did
when she sat in the ante-room of the den-
tist. Soon she would know. Soon. . . .
She could hear papa talking inside, very
wordy, very bombastic, in his best stage
voice. She could hear Grandmother
Rogers, very quiet, saying very little.
Papa would spoil it all . . . ruin it . . .
he was saying something about "the loss
of my child ... all I have left now ..."
He was saying it in his sob-voice. Jonquil
felt like screaming out, "He's a liar . . .
he has Rosie!" but she didn't.
She sat quiet, tensed, a rigid strip of a
girl. Now they were coming. They were
coming out to tell her . . . by the time
they reached her she would be dead if her
heart did not stop its mad pounding . . .
papa was speaking to her. . . .
(To be continued)
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Impressions of Hollywood
(Continued from page 44)
just about finished "Bardelys the Magni-
ficent" and expects to get a hair cut in
about a week, and, what do you think? —
he has promised me all the cuttings !
Girls, what would you not give for a
lock of John Gilbert's hair? Haven't de-
cided yet what I shall do with it — it's
quite a bunch, you know, and I dont need
another hair mattress just now. Perhaps
I shall auction it off and build a hospital
with the proceeds.
Enjoys Jam
Vou might think that John Gilbert is rav-
enously fond of red meat, coarse bread,
limburger cheese and all that sort of
thing. I sat next him at table recently
and I was soon convinced that he is noth-
ing but a big overgrown boy — he ate noth-
ing but bread and jam, mostly jam, and
he ate several portions and not much else.
Not knowing that Jack was a real
athlete in training, I foolishly challenged
him to a jumping contest. Of course, he
beat me, but only by an inch or two.
Later he and I played together at tennis
doubles, and we won easily. Jack can
do anything well — even act.
Warner's Philosophy
W'
rE have outgrown God," said H. B.
Warner to me at the lunch table the
other day. No, he is not blasphemous, and he
explained the remark quite philosophically.
H. B. is a thinker and a man of ideas. I
asked him what was man's greatest asset
that makes for happiness, and promptly
came the answer — - "Health." "And
what next?" I asked and just as quickly
came the answer — "A normal brain." Think
it over — there's a lot of food for thought
in that answer. I dont know what his
normal complexion is, but on this occa-
sion it was red. He had been out fishing,
of which sport he is passionately fond,
and the sun had certainly been making
love to his nose and cheeks.
Everybody seems to like "Silence" ex-
cept H. B. Warner, its star. He com-
plained to me bitterly about the "happy
ending" which, he says, does not belong.
The Busy Harry Carr
I— Iarry Carr, who for the last four
months has been the Chief Ambassa-
dor to the Court of von Stroheim, repre-
senting the Famous Players-Lasky mon-
archy, works all night and sleeps all day.
Why this pair cant do their work by
daylight, like other civilized people, I
haven't yet learned, but I do know that
they are working hard and expect to have
something worth while to show for it.
And when it's all over, Harry is again
going to make his typewriter talk for
Brewster Publications.
The Versatile Victor
Wictor McLaglen's meteoric career re-
minds one of that of Carl Dane. He
hits the bull's eye in "What Price Glory"
and now he has written his autobiography.
Very colorful, too — soldier, professional
boxer, wrestler, prospector, Chief of
Police of old Bagdad, circus performer,
vaudeville artist, screen star and now an
author.
Beatrice Signs
Deatrice Lillie made a big hit in
"Chariot's Revue" which was recently
playing here and on the strength of her
personality she has been signed up by
M. G. M. to do comedy features. Bea-
trice is far from beautiful, but she has
personality and charm and a good figure
— I saw it in Marion Davies' bathing pool.
A Real Western Star
("'oloxel Tim McCoy, famous as "The
friend of the Indian" and one of the
most colorful figures of the modem West,
has left his Wyoming ranch and signed up
with M. G. M. to play the lead in a
series of Western pictures. From all ac-
counts we are to expect something new in
the way of Westerns — not the old-fash-
ioned kind, but something artistic and
high-class as well as stirring.
Items of Interest
Ctrictly confidential — dont breathe a
word, but by the time you read this
there will probably be a Lloyd Hughes,
Jr., or a Gloria Hope, Jr., as the case
may be.
Don Ryan, who is well known to our
readers (particularly to Classic readers),
is writing the titles for "Manon Lescaut,"
in which John Barrymore is starring for
Warner Brothers.
Irene Rich certainly struck twelve in
"Lady Windermere's Fan" and now (about
July 1-20) she is playing a somewhat
similar part in "My Official Wife," which
Clara Kimball Young did a dozen years
ago. She is fortunate in her leading man
— Conway Tearle.
Anxious to repeat his great success in
"The Ten Commandments," which he
made for Paramount, and being deprived
of the right to produce "The Deluge"
because Warner Brothers had a prior
claim, Cecil B. De Mille has selected
"The King of Kings," which will center
around the life of Christ. In spite of a
remark I made in a previous paragraph I
think H. B. Warner will be the Christus.
Warner Brothers think they have a real
"find" in Myrna Loy. She is one of the
most unusual types in pictures. You will
soon see her as the half-caste girl in
"Across the Pacific," in which Monte
Blue is to star.
Jack Hoxie feels quite at home these
days because he is playing the part of
Buffalo BUI in "The Last Frontier" for
De Mille. Here we have a real Westerner
in a real Western, for Jack was once a
snow - shoed mailman operating from
Thunder Mountain to Pael Lake, Idaho.
Walter Long, they say, introduces a
new style of villainy in "West of Broad-
way," in which Priscilla Dean is starring.
Walter works his eyes instead of his
muscles, recalling the most villainous eyes
that ever were screened — those of Ernest
Torrence in "Tol'able David."
86
FRECKLES
OTHINE
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Appearance
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AMERICAN SCHOOL
H-662, OrMelA.o.cV S8th «t. IC)A61V>23 CHICAGO
fc£
Adolphe the Elegant
1 never would ii
woman had nj hi ime li£e b© n |
.mm! rest ml . peao u I what
I most desired . . " A
Job ... .i peace loving, law abiding •>• >>il
with w Ik >m Little Mabel itorementioncd
might li.i\ e gi ''"' '" l •'" " •""' ' " '• • • •
Third Stage
Adolphe on tin- Screen and
in tli
at \\"ik
. . the
Flesh.
Some subtle chemical lias been
. . . a fusion Has taken place
suave sophisticate "t the screen and the
simple kindly in. in have become tubtlj
and indefinably blent. . . . The one li.<s
become the other , . . Adolphe is to be
seen off tin- screen as well as on, debon-
air, dangerous. ... He is to be seen in
a swanky car, a Follies girl at his side
. . . that slight, suggestive smile upon liis
lips. . . . No longer does he huddle in
hotel lobbies, the horn-rimmed glasses
sliding comfortably down his nose. . . .
At the studio, at Sherry's, at tea-time,
Adolphe is become one and the same pet
son . . . the Sorrows oi Satan may have
become Adolphe's sorrows now ... a
Man you would not permit Little Mabel
to step out with lest she return with a
bruised gardenia in lieu of a heart. . . .
Thus the Menjou.
The Hollywood of France
{Continued from page 66)
"Nobody can see Mr. Lachmann today,
I'll show you where his secretary is."
"Oh, Mr. Phillips?" said the secretary's
secretary. "Why, both Mr. Lachmann and
Mr. Ingram waited nearly a halt-hour
for you. They have gone to Nice!"
I had been there all the time trying to
get to them. However, another car was
put at my disposal with an American
chauffeur and we trailed Rex Ingram to
Les Grandes Bleues, the bathing beach,
where I chatted with him in his abbrevi-
ated bathing suit.
Making "The Magician"
"\Y/i'. are hard at work on a story of W,
Somerset Maugham's, 'The Magi-
cian,' " he told me. "We did a scene
last night that kept us at it until after
three this morning. Naturally, we did
not work this morning but are going to
begin right after lunch. This bath is the
thing that will take the sleep out of me."
He took a plunge into the Mediterra-
nean. Later we went up and had lunch in
the studio dining-room, where it is cooked
by a French chef in hotel style and served
by Italian women in a cozy dining-hall.
None of your "Beef-and" hand-outs, but
a delicious dinner. They charged about
thirty cents for it. I forgot to say that
this included wine.
The whole company had assembled for
dinner prepared to work. Rex Ingram
sat silent as usual with Alice Terry,
his wife, talking to Petrovich, the leading
man of the company, and said to be a
remarkable dramatic discovery. Paul
Wegener, the "heavy" of the cast, sat
next to me on the left, with Lachmann.
\\ e had just lit cigarets when a gong
rang. It was the signal to get on th.
Suddenly silence descended like a blanket
— it was really Rex coming in, and every-
body knew it. The entire attention was
riveted on him. And that is the magic
of Rex Ingram and his remarkable work.
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88
Pigs run wild in Florida. W. C. Fields discovered the peregrinations
of the porkies when he tried to stage an outdoor dinner at Ocala.
They came right up to him and ate out of his hand
The Up -to -Date Old -Timer
(Continued from page 39)
he would have come in handy ; and besides,
you would have been building him up all
the time.
Comedies Should be Built Like a House
"A comedian should be given a well-
•^ worked-out skeleton framework — and
then told to add the bricks and ornaments
as he goes along."
And "bricks and ornament" are of the
greatest interest to Mr. Fields. Wild gags
born in the midst of action ; little traits and
quirks of character, trivial in themselves,
but whose sum is a definite and well-drawn
character.
His next picture, "So's Your Old Man,"
is to be one such as this. A good skeleton
— Julian Street's "Mr. Bisbee's Princess,"
the story that won the O. Henry prize —
passed thru the hands of Tom Geraghty,
whose wild Irish imagination should add
something, and then to himself for more
"bricks and ornament" — to emerge a tale
of the tribulations of a well-defined char-
acter, a small-town Babbit jeweler.
But all these plans dont seem, to me,
quite to fit in with the character of the
typical screen comedian.
"Then you dont intend to do as Chaplin,
Lloyd and Keaton — develop a certain char-
acter, with set make-up, and carry him
thru different adventures?"
N
Will Submerge His Personality
o — not at all. I intend to make the
development of the character I'm
playing more important than the register-
ing of my own personality. But all the
characters will probably be more or less
related types.
"I might make an instant success if I
were to continue making pictures in the
make-up of Eustace McGarglc, for in-
stance— yet I might be just a fad, and die
quickly as they always do. But the basic
human types never become old and stale —
no more than landscapes do.
"But then again, Chaplin and Lloyd are
no fads — they'll never die. I wonder
which the public prefers — I wish I knew."
Here we have the key to this man. All
that has gone before is merely the effect
of a cause. The alert old-timer ; the user
of past experiences ; the reasoner — all
these are merely the effect of a cause.
And, of course, a cause is always of
greater importance than its effects. So,
the fact that he is one who wonders and
puzzles things out is more important than
that it has kept him progressing and look-
ing forward beyond the point where others
stop and look behind.
A Sound Philosophy
T am not drawing the long-bow of exag-
geration— / mean it. If a small boy had
not wondered why steam made the lid of
a tea-kettle dance, we would not have the
locomotive ; without the locomotive, we
would still have had the boy. And he
might have turned out other things.
Therefore :
"Why is it that small towns are always
harder to please than the larger cities?"
"I didn't know they were."
"They are — very much so. And it isn't
only myself — it's true of many other acts
and pictures besides my own. Maybe it's
because they're not so appreciative ; they
dont appreciate the differences between
two similar things.. And you cant do any-
thing new — perhaps a difference in treat-
ment but they dont notice that difference.
I f there's the slightest similarity, it's al-
ways : 'I've seen that before.'
"But, of course, some things are uni-
versal. I was in Southampton (perhaps
the most 'ultra' of the Long Island re-
sorts) last summer, and who do you think
was the reigning screen idol? Tom Mix!
All classes — he's universal."
There's no doubt of it !
His grey eyes twinkled.
In Search of New Ideas
" A ND where under the sun am I to find
■^ a new idea for a chase?"
I murmured a few inarticulate "ers"
and "ahs" — but no new idea was born.
"Everything's been done. Of course,
.>nc who u.n • omcthing new
>.i\ ■ thai , but •
"I w ish I tiirtt
It u ■ job, when one thinks ol it Vii
planes, cops, boat . elephants, cows, even
11 ipples .ill have been used.
I could think ui nothing and became
uncomfortable. I murmured again and
prayed to -ill the goda to exert then in
Huence to have him change the subject. I
prayed >nd waited.
\n,l he did!
"Win is it th.it in two theaters in tin-
Mine town one can be .1 dismal Hop and
a howling
"I once played in the Olympic
Olympia, I forget now in Liverpool and
1 think I came nearer to being an absolute
flop than at an> Other tunc in m\ In.
While 1 was there, .1 benefit perform
ancc was staged in another theater, and I
was invited to participate. I did .mil was
a howling success, tho 1 didn't do a quar-
ter of my stuff !
"I wonder why I wish I knew."
\nil, on this note, we end.
Hollywood s' Pet
Extravagances
ntinued from page ~- >
that he purchased in London. If the
pup continues Ins present remarkable
growth, live years from now he will re-
quire very little disguise to pass for an
elephant.
Pat O'Malley's pet foible is pipes, and
his collection ranges from the native
dhudetn of Ireland to Turkish and
Persian narghiles and hookahs. Tat cele-
brated St. Patrick's day last March, by
presenting a number of his friends with
very doggy little brier pipes made espe-
cially to bis order by a famous firm in
Dublin.
Everyone to His Taste
Golf forms a real extravagance for
Huntly Gordon, who spends enough on
clothing and clubs to ransom a fairly
valuable king. Horses and their trap;
are now helping keep Edmund Lowe
broke. Willard Louis has a home in Glen-
dale that has all the horticultural attri-
butes of an ancient Roman estate. Louis
buys rare shrubs and plants from all over
the world, and is a frequent winner in
local horticultural and floral shows, as
well as having a home that is a miniature
Garden of Eden — without the snake.
Syd Chaplin goes in for aviation, being
interested both in intricate little model
planes and their big brothers. Syd is a
veteran pilot, having headed one of the
first commercial plane ventures in the
West. Louise Fazenda is a genuine book-
collector, and is an inveterate follower
of all local auctions in which books are
liable to be included. John Barrymore
has an expensive craving for rare old
first editions, and has a really fine collec-
tion. Hoot Gibson has a weakness for
weapons of warfare, from the armor of
the Middle Aces down to the six-gun of
today. Jean Herscholt is an enthusiastic
stamp-collector.
William Collier, Jr., has for his pet
extravagance a valet.
"Sure, I know it's an extravagance,"
Collier grins when his friesds kid him
about his man servant.
"Sometimes I get the idea that my valet
is the real boss of my household. Then
he is a liability.
"Other times, when I have an early
morning call for a location trip he be-
comes a real asset.
Class Will Tell
Ever since the CLASSIC entered the publication
field, it has been called the de luxe magazine of the
screen. There's a reason. It reflects class. With
seventy-four of its pages devoted to Rotogravure, its
readers are assured of seeing its articles and photo-
graphs presented in the most artistic and entertaining
fashion. There's nothing old-fashioned or hackneyed
about the CLASSIC. It is dedicated to the purpose of
offering unusual, distinctive and sparkling pages.
Moreover, it is generally recognized as the best edited
of motion picture publications. It gets off the beaten
track with its illuminating articles — which are written
fearlessly and authoritatively. You cant afford to miss
a single issue.
The October Classic
will feature the first of a series of absorbing stories about the old
days in the movies — entitled "Them Were the Happy Days." There
will also be a highly entertaining article about the "Broken Hearts
of Hollywood."
Henry Albert Phillips will conclude his series of interest in.:
interviews with leading British and Continental authors on the
subject of motion pictures. In the October Classic you will find
the opinions of John Galsworthy, Margaret Kennedy and Lord
Dunsany.
Another striking feature will present an interview with F. W.
Murnau, who has come to America to make pictures. And Ma!
St. Clair will tell you his impressions of the stars he lias directed —
together with his own caricatures of them.
And a dozen or so other big features, including the second
instalment of Faith Service's interesting Serial Story, "Painted
People."
The Classic passes them all. Order your October number now.
89
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The Celluloid Critic
(Continued from page 51)
but theatrical melodrama. It contains a
kick, nevertheless, since the action must
paint the event in crude colors. The
father refuses to allow his daughter to
marry his erstwhile partner — a man who
has found redemption thru love. In the
end the girl plunges a knife into her
parent's back, discovering too late that
she is his daughter.
Italian Sentiment
A tolerably neat little number is ex-
posed in "Puppets," which tells a
tale of Italian love, vengeance and senti-
ment. For half its length it never wavers
in its story, but as it progresses it carries
too great a burden — and fails to contain
the appeal and charm of its early scenes.
There are some good situations in it,
however. The central figure, an Italian
from New York's East Side, runs a
puppet show — and on the eve of his de-
parture for France to fight in the Great
War he gives due warning that his sweet-
heart belongs to him. When he returns
he is afflicted with deafness — a touch
which will remind you of a much better
one in "The Dark Angel," wherein the
hero came back, minus his eyesight.
A Wild Western
""There have been Westerns and West-
erns,- but I truly believe that "Born to
the West" bests them all for the assort-
ment of crowded heroics, gunplay — and
what not. This Zane Grey story simply
defies all the realities in its approach to
theatric melodrama. It spans several
years in its plot, starting off with a boyish
feud in the crinoline days and continuing
the feud after its characters have reached
maturity.
The hero is a mauve decade edition of
Frank Merriwell. He bobs up every-
where to rescue the distressed heroine or
to save his comic pal, played with breezy
abandon and picturesque color by Ray-
mond Hatton. Once he locates his erst-
while enemy — who is still pursuing the
girl that innocently established the feud —
no quarter is given. He escapes from his
hand-cuffs by a ruse — and, almost single-
handed, routs the conspirators who con-
trol and inhabit the honky-tonk. These
venders of vice are hopping mad over the
strike of gold up there in Nevada's hills.
So the climax represents a gun battle
between the lucky miners and the idlers
who remained behind.
Bebe Daniels Has Adventure
A pretty large order was given Bebe
Daniels when she was cast for "The
Palm Beach Girl," a picture which pre-
sents a series of adventurous episodes
spiced with hokum humor. Coming from
the corn belt to Florida, she starts off on
one of Mack Sennett's earliest tricks.
Her face is blackened thru looking out of
the car window and catching the soot
from some smoke-stack. Which isn't a
very neat way of introducing oneself to
Palm Beach.
The film is pleasant enough and is shot
with enough humor to while away any-
body's time. Bebe gets into one tight
jam after another — and while she is
deserving of something more substantial,
this particular number should make her
feel fairly contented with her lot.
Not So Bright
\W . C. Fields has reached stardom and
"It's the Old Army Game" which
starts him off on the high road, cannot
be called a masterpiece of comedy. In
fact, it is quite inconsequential — and is
forced to rely upon a series of gags and
slapstick — ideas which formerly deco-
rated the Follies when Fields was the
star comedian.
Transplanted to the screen, the episodes
are not so productive of laughs. And it
may be that the director didn't time them
correctly. Fields is one of the best of
pantomimists — and he needs the camera
all to himself to put him over. More-
over, he needs the camera up close enough
so one can appreciate his tomfoolery.
They Say —
(Continued from page 8)
Chance" and "Womanhandled," and he
will become even more popular in "The
Quarterback."
]■'. R., Roosevelt, L. I.
THIRD PRIZE
Votes from Illinois
Editor, Classic :
I have recently read that Warner Baxter
is to play the leading role in Paramount's
filming of Scott Fitzgerald's brilliant "The
Creat Gatsby," which should indeed, in the
right hands, make a splendid picture. But
Mr. Baxter as Gatsby is absolutely awful.
Why buy the rights to the novel at all if
lie is the only actor they can think of to
play Gatsby? I believe Ronald Colman
would be the most satisfactory, and I
would very much like to see Greta Nissen
as Daisy.
Anyway, if Mr. Baxter plays Gatsby, I
shall expect to see Warner Brothers pre-
sent "The Green Hat" with the matronly
Irene Rich as Iris March.
And this is the time to repeat what wise
persons have, already suggested: that
Blanche Sweet is the one actress on the
screen who could play the role of Iris as
it should be played. Miss Sweet has the
subtlety, the grace, the "tiger tawny" hair,
and the mannerisms of Michael Aden's
famous lady. And what a picture it would
be if some producer should make "The
Green Hat" with Blanche Sweet, directed
by George Fitzmaurice, and with Ronald
Colman in the part of X a pier! If Blanche
and Ronald could lift a foolish story like
"His Supreme Moment" to the distinction
that they did, what couldn't they do to
"The Green Hat"?
I think that Gloria Swanson has a legiti-
mate grudge against the critics because of
their comments. I'll admit that her per-
formance as the mother in "The Coast
of Folly" was bad; she made her much
too aged, she exaggerated, she was un-
convincing. Why not also admit that she
had sincerity* and force, and that her act-
ing as the daughter was all that anyone
has a right to expect ? All that she re-
ceived from the critics was verbal brick-
bats.
Ward D. Seidler,
207 State Street,
Calumet City, 111.
90
The Screen Observer Has Her Say
ami the nearest railroad station town ii
i twenty miles awaj . containing about
foui hundred inhabitants; but right here
mi tins God forsaken, desolate plain the)
tre building ■ i it) foi the wle purpo
making .1 mo>
in Denver, Reno, Sacramento and
everywhere the) brought nun, women .uul
children and in a night th< Bar
bara Worth sprang up, and in ten days
they had hank-, saloons, ehurcl
and dance halls with six 01 seven hundred
people to patronize them. Carload
ice, huge tanks of water, five thousand
tons "I food daily, and hundreds of horses,
mules, oxen and cattle wen- brought
hither, and all the wink- the can*
grinding, and the actors were performing,
Samuel Goldwyn was drawing huge
checks— just to give you people a great
picture. Henr) King, who became im-
mortal for having directed "Stella Dallas,"
the beautiful and charming Vilma Bahky
who has just finished a wonderfull) color-
ful part in "Sen of the Sheik." Ronald
Colman, who has gradually gone to the
top of the ladder of screen popularity, and
a do.-en more artists of equal merit in their
particular lines are all doing their utmost
to make "The Winning of Barbara
Worth" an epoch- making picture.
All for the Sake of Realism
Tut thermometer registered around 115
degrees in the shade, the sunlight is al-
most blinding, and the driving clouds of
dust are often excruciatingly painful and
dangerous to the eyes and ruinous to the
complexion, and yet all these people en-
dure it with a smile and without complaint.
Yes. the wind Mows occasionally, hut it
is a hot wind and with it comes clouds of
dust and sand. The tents in which most
of the inhabitants of this mushroom city
live are large and comfortable, but in the
daytime they are like ovens. During one
of these sand storms it is like being in a
square-rigger in a squall, so loud is the
boom of the flapping canvas, and after it
is over, everything, everywhere is covered
with tine white sand. But after the sun
goes down it is simply glorious, cool, re-
freshing, invigorating, and you never saw-
so much sky in your lite, or so main- stars,
unless you have been on the desert. Every-
body knows everybody, like one large
family, and everybody is happy. And talk
about types ! When I sat in the one big
common dining - room and watched the
populace come in. till up. and go out, I
thought to myself that nowhere on earth
could one find such a variety of human
creatures — every nation, color, size, type
and character were represented with no
duplication. The exquisite Vilma and the
hideous Indian squaw, the aristocratic
Ronald and the uncouth mountaineer,
negroes and Mexicans, grotesque cow-
■ and long bearded trappers, all mingle
together and partake of the same rat
which, by the way, are far better than
most of them ever had before or will
ever have again.
Should Be Another Epic
A xd in another ten days or so it will all
be over. Half a million dollars will
have changed hands, the city will have dis-
appeared like Atlantis, or Pompeii, or a
mushroom, but the world will have another
epoch picture — something on the order of
"The Covered Wagon," only covering a
later period of our country's growth and
development. Wh) Bancroft and Ridpath,
when nun like laiin imuel
Goldwyh, Henr) Ring and William
can write histor) in pictun
bod) <■ an undo stand ami enjoj and i
forget, anil that will make the kiddie-,
scoot to s, hool rathei ill. in pla\ hi
l!ut dont think Sam Goldwyn is so philan
thropic as all that he will get his millions
hack again and more loo. and he kl
1 nd \ et he ij one of the world'-. 1
factors Besides that, he is an awful good
fellow and generous to a fault.
Arbuckle Out of Oblivion
lr will he very interesting to see what
RoSCOe Arbuckle has done with " I In
Red Mill," in which he has just finished
directing Marion Davies. The expenses
on this special piled up so that Metro
Goldwyn called iii King Vidor and Ulrich
Bush to help finish some of the minor
scenes of the picture. Hut Fatty handled
all those in which Marion Davies appears.
The saving of money cm have been the
only object in rushing this picture to i
pletion, because Marion's next production
is not scheduled to start until September.
Sin- has caught the comic-strip fever, and
will immortalize "Tillie the Toiler."
Frances Marion is scenarioizing Russ
W estover's epic of the beautiful dumbbell.
Wanted— A Job
1V/T atritz Stiller is out of a job again.
When he became too temperamental
to linger within the broad walls of Metro-
Goldwyn, Paramount welcomed him as the
one man who could direct Pola Negri
superbly. The idea was to match temper-
ament with temperament, and everyone
was sure Pola and Mr. Stiller would
understand each other beautifully. It is
not told which of them first found it im-
possible to understand the other — but Pola
has a new- director, and Mr. Stiller is
without a picture. Altho he has been
hailed by all the great foreign directors
as the real genius among them, he has
failed to give evidence of it since coming
to America. The inference is that, like
D. W. Griffith, he was a great genius.
And his preoccupation with Greta Garbo,
whom he considers the one superb actress,
limits him still further.
Rudy Will Play Italy's Bad Boy
Wai.kxtixo's next picture seems to have
a good chance of being another "Mon-
sieur Beaucaire," which fans have been
clamoring for. It will be a drama based
on the life of Benvenuto Cellini, and the
scenario will be written by Edwin Justus
Mayer, author of "The Firebrand." Altho
Joseph Schenck purchased the screen
rights to "The Firebrand," that highly
ssful stage play was found to be
quite censorable and unfit for the screen,
so Mr. Mayer has been called upon to
produce other incidents from the very
full life of Benvenuto.
It is a spirited role Rudy will play, said
to he ideally suited to his screen per
ality, altho it has never seemed to me that
s pirit was the dominant quality in Rudy's
acting. The picture will he directed by
Fred Niblo, who managed to make Valen-
tino do some real acting in "Blood and
Sand" — and what with the lavish produc-
tion promised by Mr. Schenck. and the
flock of beautiful women who must be in
any faithful story of Signor Cellini, it bids
fair to be at least an entertaining picture.
'^-' y * 1 "In
Tin. lrl»m-.»i.I. 1. j -'«fc m
■> III,*. ■•«
Moll i I Ciaail I
Y^E'Z^Y. Send for Catalog
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S.IM*ll<)n (XMf jntrtij
or Hoik* Rrluntfri).
TIRMI: All ..,.I.T«.ln.
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LOFTIS BROS. A r O. N..tion.i j«w*.T.".
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For Your
Opinion
"Crazy Quilt"
which begins in the
September issue of
the
Motion
Picture
Magazine
is a fascinating story
about fascinating peo-
ple and probably the
finest novel ever
written about motion
pictures.
Two hundred dol-
lars in prizes are
offered for the best
reasons why "Crazy
Quilt" is the perfect
title for this story.
Get the SEPTEMBER
Motion Picture Magazine
at your neighborhood
news-stand today
91
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body in pictures. I write to him often — and always receive a wonderful letter
from him.11 Thousands of people know this dear old fellow, and his depart'
ment is one of the finest in any magazine.
For over fifteen years Motion Picture Magazine, the pioneer and the oldest
magazine of its kind, has fearlessly, accurately and authoritatively presented
the news of the great motion picture industry to the millions. Under the
experienced and able leadership of Eugene V. Brewster, its Editor'nv
Chief, it has become a powerful influence for all that is good and progressive
on the screen. The editorial staff are the leaders in their profession.
A clean, wholesome magazine for the entire family
MOTION PICTURE MAGAZINE
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EDWARD LANGRR PRINTING CO.. INC.,
JAMAICA, NEW YORK CITT.
Every-day magic
c'haiks thai tlop into beds . . . bags thai suck up
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nothing!
Uncanny, daily magic — this, due to national
advertising. Advertisements have given you flash-
lights, telephones, typewriters, automobiles, eold
creams, motion pictures. They have given you new
eyes, new ears, new hands, new feet, new faces, new
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lowered prices, that almost wishes are autos. almost
beggars can ride. Through advertisements you've
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little old-time work left in this age of amazing
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Read the advertisements — they keep you
to the fore of modern life
IDEALS of BEAUTY
i *
Physical Perfection
That Schoolgirt
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It you wish to gain them, tollow nature's laws — and, above all, this
natural rule in skin care which has proved ics effectiveness to the world
PALMOLIVE is a beauty soap
made solely tor one purpose;
to foster good complexions.
In France, home of cosmetics,
Palmolive is the second largest
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French soaps by the score. In
beauty-wise Paris, Palmolive is the
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RIGHT living, right diet and proper
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skin perfection these experts urge natu-
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Thus, on expert advice, the artificial
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Foremost beauty authorities have found
be auty insurance starts with proper cleans-
ing of the skin. They urge the soothing
lather of olive and palm oils as blended
in Palmolive as the safe, natural way in
skin care. Most of the pretty skins you
see today are due to it.
Use Palmolive according to the simple
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single week will make. It is nature's for-
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plexion."
Start today with this simple care —
Note how your skin improves
Wash your face gently with soothing
Palmolive Soap, massaging the lather
softly into the skin. Rinse thor-
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with cold. If your skin is inclined
to be dry, apply a touch of good
cold cream - that is all. Do this regularly,
and particularly in the evening. Use
powder and rouge if you wish. But
never leave them on over night. They
clog the pores, often enlarge them.
Blackheads and disfigurements often fol-
low. They must be washed away.
Avoid this mistake
Do not use ordinary soaps in the treat-
ment given above. Donotthinkanygreen
soap, or one represented as of olive and
palm oils, is the same as Palmolive.
And it costs but 10c the cake! So little
that millions let it do for their bodies
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Soap from trees!
The only oils in PalmoliveSoap are the
soothing beauty oils from the olive tree,
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and no other fats whatsoever. That is why
PalmoliveSoap is the natural color that it
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The only secret to Palmolive is its
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THE PALMOLIVE COMPANY (Del. Corp.). CHICAGO. ILLINOIS
Brett litho.Co.. N.Y.
, ST. CLAIR
TiODUCES
AND
[ETCHES
S STARS
\
V
0<S
OCTOBER
%
J^urnaii
Talks of
•Pictures
And
People
Ot('+-<r-
^Jj urcr'fo—
ginning The Pioneer Days Of The Aovie;
METRO-
GOLDWYN
MAYER
WEEK
SEPT. 12th
TO
SEPT. 18th
I'reiented by
JOSEPH M. SCHENCK
From the play produced by
(It-orge Choos \\ ith Selwyn & Co.
Book by Stanley Brightman
and Austin Melford
Lyrics by Douglas Kurber
Music by Philip Braham
American Music by
Walter I.. Rosemont
Adapted by
Ballard MacDonald
Screen Adaptation by
Paul Gerard Smith
Albert Boasbrr^
Charles Smith
Duelled by
BUSTER KEATON
A Afftro-Goldwyn- Mayer
Pulure
BUSTER KEATON in
BATTLING BUTLER
BUSTER Keaton
THAT great giggle getter
LANDS the biggest knockout
OF his frozen-faced career
IN Battling Butler!
FROM the opening gong
TO the final flop
EVERY round's a riot!
AND Sally O'Neil falls too—
FALLS hard for Buster Keaton!
DO you know why?
YOU ought to!
READ on the right ....
\^x\Q^oldwi) Thayer
"More stars than there are in Heaven"
You can win
one of these
Valuable
Prizes
Can you answer
Norma Shearer *s
questions?
Do you "glance" or
Do you really see?
EVERY Metro-Goldwyn-Mayer
fan has a chance to win one
of the valuable prizes I am
offering this month. All you have
to do is to keep your eyes open
and your mind alert when you go
to see a Metro-Goldwyn-Mayer
picture. Don't be a "glimpser" —
be a "seeker". You may be one
of the winners.
To the person who writes the best
answers to all the questions in this
column, I will present — if it be one
of the fair se* — the hand bag I use
in "The Waning Sex" and a cash
prize of $50. If a man is the lucky
one, Buster Keaton will present
and sign the boxing gloves he uses
in "Battling Butler" together with
a cash prize of $50.
To the next fifty lucky ones, I will
send my personally autographed
photograph finished in a sepia style
suitable for framing.
(io to it and best of luck.
-71
Yours cordially,
9f\AAA.CV
Norma' s six
questions
Iln what Metro-Goldwyn-Mayer
picture does a Mollusk play a
prominent part? Who is the di-
rector?
Who plays Musette in
Boheme?
I.
3 In what picture does Sally
O'Neil fall for Buster Keaton
and why?
4 In what Metro-Goldwyn-Mayer
picture does Lon Chaney play
the partof Singapore Joe? Describe
his "make-up" in not more than
fifty words.
5 Where are the Metro-Goldwyn
Mayer Studios?
6 What animal is the King of
Beasts anil where is he most
often seen?
Write your answers on one side ol a
single sheet of paper and mail to
M-G-M. 1542 Broadway, New
York. All answers must reach us
by October 15th. Winners' names
will be published in a later issue
of this magazine.
In the event of ties, each tying
contestant will be awarded a prize
identical in value with that tied for.
MOTION VICTUXl
Vol. XXIV OCTOBER, 1926 No. 2
Notable Features in This Issue:
F. W. MURNAU COMES TO AMERICA Matthew Josephaon 16
m ilm v i.. i talks about movie* and men
THEM WERE THE HAPPY DAYS Bert Ennia 18
The inside »tory ol the earl) \.-.us ,,i the motion picture, ii" insi Instalment revemllnj ti"- Vltagraph years
CHARMED LIVES AND RECKLESS Selma Robinaon 20
leramen and theli faring exploits
MORE INSIDE FACTS ABOUT THE EXTRA Percy Knighton 22
\ remarkable ttory aboul the people who trv yeai aftei yeai t" i>r,aW into ti»' moviei illustrated by Sejrmoui Ball
HOLLYWOOD'S UNION JACK CLUB Cedric Belfrage 38
When It's tea lime lot the English players In Beverly Hills
The Classic Gallery 11-15
i Shearer, Helen* Coatello, AUeen Pringle, Loii Moran and Nell Hamilton
A Better Man Than Gunga Din 24
Portraits ol Ben Lyon
The Charge of the Alien Army on Fort Hollywood . Ellison Hoover 25
Three More Authors Consider the Films Henry Albert Phillips 26
The last ol the series ol t.ilks with famous writers — Jobn Galsworthy, Margaret Kennedy! Lord Dunsany
"We Respectfully Suggest" . Ken Chamberlain 28
Some caricatures of suggestions for the producers
Painted People Faith Service 30
Second instalment ol ( > mating serial story — Illustrated by Douglas Ryan
The Keystone Kop Who Became a Director Peter Milne 34
Mai St. Clair talks about the movies and the stars who have worked for him — With sketches by the director
Cella Lloyd Vamps the Big Director John Held, Jr. 36
Further adventures of Cella Lloyd
The Fine Art of Falling Hal K Wells 40
Billy Bevan demonstrates before a slow motion camera how to execute some famous falls
Richard Dix ... 42
Portrait of the star in his newest r61e
What It Costs to Be a Weil-Dressed Clubman. Warren Dow 43
The equipment of Ramon Xovarro's sartorial effects (evening edition)
. Impressions of Hollywood Eugene V. Brewster 44
Further notes of Coast activities by the Editor-in-chief
Big Vic, a Soldier of Fortune Joseph Mattern 48
An interview with Victor McLaglen
Holland in Hollywood . 52
PictUI from Marion Davies' new picture. "The Red Mill"
The Gentle Gypsy Gladys Hall 53
Carol Dempster philosophizes on life and love — Caricature by Armando
Walter Pidgeon (Portrait) 54
Pity the Assistant Director Irene Burns 55
The most abused man in the studio
Villainy versus Lunacy . Scott Pierce 56
The heavies are giving up their villainous style of acting to emerge as human beings
Standing Pat with O'Malley Ralph Sutter 58
Interview with Pat O'Malley
Paging Mr. Ringling ... 62
New pictures of Charlie Chaplin in "The Circus"
Charles Ray 63
New portrait of the star in "The Fire Brigade"
The CLASSIC'S Famous Departments
Our Own News Camera 45
The incidents of the film world told in pictures
The Celluloid Critic Laurence Reid 50
The new screen plays in review
The Screen Observer Has Her Say Elizabeth Greer 60
Amusing gossip of celluloidia
The Answer Man 64
Cover Portrait of Louise Brooks, by Don Reed, from a Photograph by Edward O. Bagley
LAURENCE REID, Editor
Adele Whitely Fletcher, Supervising Editor Colin Cruikshank, Art Director
Classic comes out on the 12th of every month, Motion Picture Magazine the 1st
Subscription $2.50 per year, in advance, including postage, in the United States, Cuba, Mexico and Philippine Islands. In Canada $3.00; Foreign
Countries $3.50 per year. Single copies 25 cents postage prepaid. United States Government stamps accepted. Subscribers must notify us at
once of any change in address, giving both old and new address.
Published Monthly by Brewster Publications, Inc., at 18410 Jamaica Ave., Jamaica, N. Y.
Entered at the Post Office at Jamaica, N. Y., as second-class matter, under the act of March 3rd, 1S79. Printed in V. S. A.
Eugene V. Brewster, President and Editor-in-Chief : Duncan A. Dobie, Jr., Vice-President and Business Manofr;
L. G. Conlon, Treasurer; E. M. Heinemann, Secretary.
EXECUTIVE and EDITORIAL OFFICES, 175 DUFFIELD ST., BROOKLYN, N. Y.
Hollywood Office, 6064 Selma Avenue. Phone Gladstone 3564
Copyright, 1926. by Brewster Publications, Inc., in the United States and Great Britain.
CLASSIC'S Late News PAGE
CLIVE BROOK has been signed to a long-term
contract by Famous Players. His first role
will be under the direction of Mai St. Clair
in "The Popular Sin."
Incidentally, Famous Players have taken Ernst
Lubitsch under their wing. His contract with
Warner Brothers has been settled by mutual
arrangement and hereafter with the single ex-
ception of one production he will handle the
megaphone for the Paramount stars.
According to the Associated Press, the movie
cowboys resent the use of Government troops in
the films and have filed formal protest against it.
They declare the troopers to be unfair competi-
tion.
Lou Tellegen, who has confined his screen
work to acting before the camera, will now con-
centrate as a director. He will produce "His
Wife's Honor" for Fox — with Dolores de Rio in
the leading role.
Altho, Gloria Swanson has purchased "Eyes
of Youth," an entirely new story is being written
for her first United Artists production. The
story once served Clara Kimball Young — and it
is understood it was bought for its central theme.
George Jessel, the stage star, who makes his
screen debut in "Private Izzy Murphy," will ap-
pear in a screen version of his stage hit, "The
Jazz Singer," which is soon to strike out on a
tour of the principal cities.
Good old "Bertha, the Sewing Machine Girl,"
is to take up her work in the movies. The Fox
forces have bought the rights to the celebrated
melodrama — and
will present Madge
Bellamy in the
title role.
Which reminds
us that another
old - timer of the
days of the high
"bike" will soon
reach the celluloid
state. We intro-
duce "McFadden's
Row of Flats,*'
which will fly the
First National ban-
ner. Charlie Mur-
ray, who figured
prominently in the
stage - play, will
have the same role
on the screen.
"Hurry - Up"
Yost, the famous
football coach of
the University of
Michigan, has ar-
rived in New York
to handle some of
the football se-
quences in Richard
Dix's new picture,
"The Quarter-
back."
The role of
Jesus of Nazareth
LAST MINUTE REVIEW
n
THERE is an irresistible glamour about any costume picture
which revolves around court intrigue, provided it concerns
the adventurous amours of a great lover bent upon defying the
powers behind the throne. Such a picture is "Don Juan" — which
visualizes with great beauty and compelling sweep and power
the sway of the Borgias — with the conflict and drama centering
around the Spanish lover and his amours.
It is a far jump from "The Sea Beast" — but John Barrymore
has negotiated it with plenty to spare. The film presents him
in the type of role which is most adaptable to his talent and
personality.
The profiled John "goes Valentino and Fairbanks" in the
way he conquers the hearts of the ladies and rescues the dis-
tressed heroine. If he could restrain himself during a death
scene, he would pass the examination without an error. As it
is, we give him a mark of 98. From the moment that he, as the
elder Don, surprises his faithless wife and commits himself to
the pastime of "loving 'em and leaving 'em," the film carries the
interest at a high pitch. He dresses the part and his sumptuous
quarters are just made for romance.
And so it builds from one intrigue to another — saturated as it
is with plot and counterplot. There is no let-down in interest.
Barrymore makes the most of his amorous adventures — and the
suspense becomes overwhelming as one wonders how he'll fare
with Lucretia — who has set her cap for him. To defy a Borgia
spells death — and death lurks constantly for the dashing Don.
But he makes miraculous escapes and routs his playful enemies.
The duel scene is an exciting moment — and Barrymore and
Montague Love are immense in their sword play. Estelle
Taylor makes a fascinating Borgia, while the others are perfectly
cast.
The film is handsomely mounted — the atmosphere suggesting
perfectly the period of its settings.
in the Cecil B. De Mille production — to be known
as "The King of Kings," has been assigned to
H. B. Warner.
Lois Weber, the only woman director in the
movies, who divorced Phillips Smalley, has cast
her former husband for an appearance in "The
Sensation Seekers."
Raymond Hitchcock, the famous "Hitchy" of
the stage, has returned to the silversheet after
many years' absence. He will play one of the
leading roles in Marshall Neilan's new produc-
tion, "Everybody's Acting."
The first Milton Sills picture, "Men of the
Dawn," to be made on the Coast in over a year,
is now in production.
Kathryn Menjou was awarded the largest
amount of alimony ever given in Los Angeles
courts when Judge Hollzer ordered Adolphe
Menjou to pay $500 a week for his wife's sup-
port, pending trial of the husband's suit for di-
vorce, set for October.
Famous aces of the A. E. F. will take part in
"Wings," the film of the world-war air conflicts
which is being produced by Famous on the Coast.
Many Americans who flew over the German lines
as well as French, British and other flyers will
appear in the picture. Charles Farrell and Clara
Bow have the leading roles.
Greta Nissen has been signed to play in "The
Popular Sin." She is now appearing in Ziegf eld's
Revue.
Lupino Lane has returned from London to re-
sume his comedy career in Hollywood — for Edu-
cational.
Production has
started on "The
Charleston Kid,"
which is the name
for the screen ver-
sio n of "E v en
Stephen." In the
cast are Dorothy
Mackaill, Jack
Mulhall, Louise
Brooks and Wil-
liam Collier, Jr.
The w. k. song
hit, "Valencia," is
destined for the
movies. It will be
turned into a
screen play for
Mae Murra y —
carrying some-
thing of the same
flavor as "The
Merry Widow."
Spain will be the
locale.
"The Black
White Sheep" is
the title of Richard
Barthelmess' next
Don Juan"
picture.
After "The Red
Mill," Marion Da-
vies will appear in
"Tillie the Toiler."
r
1
You Want
This Book!
"BEHIND THE
SCREEN"
(Illustrated)
by Samuel Goldwyn, the
well-known producer
"/pHARLIE CHAPLIN
^s" and liis moods j Mary
Pickford and Douglas Fairbanks,
drawn together by tlu-ir com-
plete absorption in pictures; the
beginnings of the romance be-
tween Geraldine Parrar and
Lou Tellegen — and the bes,rin-
ning of its end; the rivalry be-
tween Pauline Frederick and
Farrar; the fiasco of Mary Gar-
den in films; the discovery of
Valentino; the rise of Harold
Lloyd ; the unhappy isolation of
Eric von Stroheim; the eccen-
tricities of Elinor Glyn — these
are some of the topics to regale
the eager devourer of 'fan' food."
*4^jp,HERE js jntense drama (n
« Mr. Goldwyn's description
of the scene in which Geraldine
Farrar, sensing the company's
disappointment in the results of
her pictures, voluntarily tore up
a contract worth $250,000."
4<T7X appearance,
^i feminine, M
so typically
Mary Pickford
gives to the romance of business
all of a man's response."
Order This Now
BREWSTER PUBLICATIONS, Inc.
175 Duffield Street, Brooklyn, N. V.
Gentlemen: For the enclosed $-50,
please send me a copy of "BEHIND
THE SCREEN."
WHY BE LONELY?
Tl I E M"i [ON IV 11 K I ( l Wh .
bright, snappy and beautiful
solves the problem. When you fin<
yourst.li wondering what to do oi an
evening — just take up the Classic. It
generates warmth and friendship and
drives dull care away. You will find
a full evening's entertainment in
every issue of Motion Picture
( I VSSIC.
The Classic is the magazine
screen — the de luxe
publication of the
celluloid world.
There is no other
magazine like it in
the vigor, liveli-
ness, youth, charm
and authority of its
scintillating pages.
~*~
2*£ NOVEMBER CLASSIC
will be full of interesting things. There will be striking
articles by the best writers of the films. B. F. Wilson
will tell you about Anita Loos, who wrote "Gentlemen
Prefer Blondes." Bert Ennis will acquaint you with
the second of his series, "Them Were the Happy Days"
— featuring the Keystone years. There will be highly
illuminating articles covering a wide range of subjects
by such authorities as Dunham Thorp, Gladys Hall,
Robert Donaldson, Charles Adair, Helen Carlisle,
Dorothy Manners and a host of others.
Charming drawings will adorn its pages by such
famous artists as John Held, Jr., Armando, Chamber-
lain and Leo Kober.
There will be absorbing personality stories. Faith
Service's serial romance, "Painted People," is reaching
new heights of interest.
There will be a generous display of beautiful photo-
graphs of screen folk — photographs that carry real tone
and quality reproduced thru rotogravure.
You cant afford to be without the CLASSIC. Order your November Issue now.
u
THEY SAY
V
LETTERS from CLASSIC Readers
$15.00 LETTER
Fair Play
EDITOR, CLASSIC:
The "movies" no longer need any-
one to defend them, but it doesn't
hurt to point out occasionally the "real"
in reels, and that is where I now enter the
picture.
The world today runs in three gears :
those who take it slow and digest a good
movie once a month ; those who travel at
a steady gait of about two a week ; and
the real fans who take 'em as they come,
thick and fast, good, bad and indifferent.
They are the little depositors who have
boosted the motion picture business until
it is roosting right near* the top of the
ladder of Successful Business.
This baby of commerce was born about
the time Henry Ford pointed his nose
towards success and it has been a neck-
and-neck race ever since to see which one
could grow the faster. Both have had an
abundance of ridicule, criticism and hard
knocks, but both have proved the old say-
ing that you "cant keep a good man
down." Henry is now our richest man
and gives work to thousands of men and
women and the movies do the same and
even makes millionaires of a few over-
night, and any industry that can do that
cant be all bad, as some
people seem to think.
Aside from the three speeds
spoken of, there are a few
persons who have never seen
a motion picture, or who have
seen only one or two, "just
to see if they were as wicked
as they were painted." These
are they who ask : "Can any
good thing come out of
Hollywood?" They think
every actress is a cigaret-
smoking vamp and every
actor a drunken sheik. To
them, moving pictures are an
invention of the devil, de-
signed to lead the present
generation right home to
Papa in Hades. And they
are sure all films are de-
signed to teach the young
hopefuls how to hold up a
stage, separate happily mar-
ried couples and show the
human figure a la natural,
without going to jail for it.
Well, after viewing some
pictures one must admit that
a life class in a Paris art
school could go no further
and once in a while the thing
looks like a lesson in vamp-
ology.
But I fail to recall a single
picture that showed where
immorality or villainy got
away with it. And instruc-
tions to writers who hope to
break thru the Golden Gate
(which, by the way, has been
moved from San Francisco
to Hollywood), via a high-
priced scenario are clear on one point. If
you introduce a hold-up, a vamp, murder
or immoral feature, dont let 'em get away
with it ! "The wages of sin is death"
in a motion picture and anyone who really
studies a movie will see that this is a fact.
Once in a while a character who starts
out all wrong because of unfortunate cir-
cumstances or environment, may find hap-
piness in the last few feet of film, but only
after great suffering and atonement. The
villain may "pursue her," and even catch
her, but the stalwart hero generally over-
hauls the coward in the third reel and with
well-manicured mitts and a two-by-four
jaw firmly set, reduces the cringing cur
to a kneeling position begging for his
life.
Fair-minded people have to admit the
movie is an educator in something besides
crime. Now they know that the Esquimo
and always-noble Mounted Police lie off
to the north ; that New York with its
Statue of Liberty and its gilded restau-
rants is situated on our eastern boundary ;
they know what Mexico and Texas have
to offer on the south, and they begin to
suspect the Great Open Spaces beyond
the Rockies of almost anything.
Movies have shown the dwellers of the
cities how some of our big outdoor in-
dustries are carried on and the most ig-
We Want to Know
What you think of the movies and the stars.
This page is devoted to CLASSIC'S readers,
who are invited to write about their impres-
sions of the pictures and players. Be as brief
as possible, as letters must not exceed 200
words. We also suggest that you be entirely
fair in your views. In other words, CLASSIC
would like to receive constructive criticism or
arguments about the productions and per-
formances.
Fifteen dollars will be paid each month for
the best letter, ten dollars for the second and
five dollars for the third. Besides these three
prizes, we will also pay one dollar for any
other letters printed. If one or more letters
are found of equal merit, the full prize will go
to each writer.
Anonymous letters will not be considered.
They should be neat and bear the writer's
full name and address. This is your depart-
ment. We want you to take advantage
of it. Letters must be addressed : The Letter
Box, CLASSIC, 175 Duffield Street, Brook-
lyn, N. Y.
norant New Yorker knows now that
shingles dont grow in bunches nor do
five-dollar gold pieces come out of the
ground all ready to spend.
And manner! The most untrained
hick has learned how to rise when a lady
enters the room ; how to give his som-
brero and spurs to the butler and how to
enter a lady's boudoir, either as a burglar
or a casual caller. Tom Mix has taught
every cow-puncher west of the Mississippi
just how to treat a lady and if he doesn't
look quite like Tom it is because the local
tailor is short on style !
There are many pictures which children
should not see. Yes, but there are many
books in the library which a child should
not read. That is one excuse for having
parents — they are designed to act as shock
absorbers to the youth of the land. The
old Hebrew law used to forbid a young
man under twenty-one from reading a
certain book in the Bible and yet it would
be absurd to forbid them the whole Bible
on that account.
If young people hold up the stages,
murder and go wrong because they saw it
done in the motion pictures, they are like-
wise going to sacrifice themselves for
right ideals, be brave and true and loving
and kind, for there is a lot of that sort of
thing to be seen, too!
Very truly yours,
Nellie B. Parker.
102 S. Vendome St.,
Los Angeles, California.
$10.00 LETTER
Not All Progress
Editor, Classic :
In your July issue, Mr.
Henry Albert Phillips struck
the key-note of one serious
trouble that threatens to re-
tard motion picture produc-
tion, both as an art and as a
popular medium of entertain-
ment. He tells us what we
have long known, that in buy-
ing the works of noted au-
thors for motion pictures, the
producer is really "buying
their name, not their story."
They may get a good pic-
ture story in the transaction,
but in nine cases out of ten —
perhaps oftener — they get
merely a "skeleton," as Mr.
Phillips calls it. This skele-
ton they hand over to their
own scenarists, who obligingly
reclothe it in suitable screen
flesh. And so, the public is
cheated, the producer is
cheated (altho he seems not
to realize it), while the au-
thor waxes fat on his repu-
tation.
Now a man may be ever
so good a writer of stories,
yet be a failure on screen
material. For a story may be
supported mainly by its psy-
(Contimted on page 91)
8
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NORMA SHEARER
The favorite of the younger set — the carefree
collegiates and their girls who wear the big
chrysanthemums. From Princeton to Purdue
Norma has captured <-hem completely. With
her perfect profile and her winning ways she
has made them jump their geometry for
Shearer sessions in celluloid
MOTION PICTURE
(^lASSIC
OCTOBER, 1926
HELENE COSTELLO
They had always played together — these Costello girls. They took Dolores away to
illuminate the canopy of stars while Helene was left in the background. Youth and
winsomeness have won and the younger sister is now coming along to decorate the
starry kingdom.
Apeda
AILEEN PRINGLE
Ever since Elinor Glyn coined the two-letter word, "IT" — all of the celluloidians have
been wondering where they stand on the personality question. The Pringle person was
the first to be awarded with Personality's short synonym. Madame didn't guess wrong
Kenneth Alexander
LOIS MORAN
Likespying into an old-fashioned garden and seeing a slip of a girl in a crinoline dress.
That's the impression that most everyone has formed of Lois Moran. She has a charm
that weaves a pattern of lavender and old lace
i
Harold Dean Carscy
NEIL HAMILTON
A Griffith discovery is Neil Hamilton — which means that he was as good as over the
minute D. W. shouted "Camera!" He has advanced steadily without any fanfare of
trumpets — his personality and talent carrying him into the close-up of roles worth while
F. W. MURNAU
The German Genius of the Films
SIMPLICITY!
Greater and
greater simplicity
— that will be the key-
note of the new fijms."
Murnau was speaking
with ardor, gesticulating
with his long limbs,
whenever his English,
altho correct and with-
out foreign accent,
failed him.
"Our whole effort,"
he went on, "must be
bent toward ridding mo-
tion pictures of all that
docs not belong to them,
of all that is unneces-
sary and trivial and
drawn from other*
sources — all the tricks,
gags, 'business' not of
the cinema, but of the
stage and the written
book. That is what has
been accomplished when
certain films reached the
level of great art. That
is what I tried to do in
The Last Laugh.' We
must try for more and
more simplicity and de-
votion to pure motion
picture - technique and
material."
Exactly what I had
longed to hear someone
say here. Exactly what
I hoped this giant of
the moving pictures
would say. But then
Murnau went on to say
something which gives
his own spirit and per-
sonal style completely.
Listen :
"In the film you give a picture, for instance, of an
object, a thing, and it has drama for the eye; because of
the way it has been placed, or photographed, because of
its relation to the other people or things in this film, it
carries on the melody of the film."
This is Murnau, the man who created the most vivid
drama we have ever seen out of the simplest and lowliest
things in "The Last Laugh" ; who made brass instru-
ments ring with music on the screen, or lit up faces so
that they were loud with speech ; probably the finest
director who has come to us from Germany.
His Influence Is Felt
\17hat will his influence be here, I wondered? It has
* * been very great already. It is not as if we have been
backward, for in the last year or two a number of film
16
By
Matthew Josephson
Caricature of Murnau by Leo Kobcr
masterpieces made by
American or American-
trained directors follow
the same tendencies as
those of Murnau. They
are simple to the utmost
and built solidly on the
resources of the cinema
— pictures like Vidor's
"Big Parade," Craze's
"Covered Wagon,"
Henry King's "Stella
Dallas." And yet there
are people who grumble
at the inroads of foreign
film stars and directors.
How silly ! If they
could only see the
mountains of inferior
American celluloid that
are shipped to foreign
countries and blissfully
consumed by the popu-
lace.
F. W. Murnau ar-
rives at exactly the psy-
chological moment, as
we are on the verge of
an era of truly great
motion pictures. In his
valise he brought with
him a new epoch-mak-
ing film, "Faust," which
is to have its first show-
ing in America. At the
very moment, "Variety,"
a seriously inspired
German picture, was
playing to filled houses
with the temperature at
ninety. He is deeply in-
terested in America ; he
has few false ideas
about it, least of all that
it is impossible to do
anything fine over here.
And he is here at the behest of the Fox Film Company,
seldom noted hitherto for artistic films, but now going in
for bigger things.
He is not merely a giant of the films as I have de-
scribed him, but in stature towers some six feet and
several inches. He is red haired ; he has keen, steady-
eyes and quiet hands. He is a calm man, not easily
ruffled or thrown into despair. His manner is uncon-
ventional, not at all formal or formidable as that of many
Europeans. He is young, not much over thirty-five ; his
understanding and his knowledge are broad. I think that
his abilities will make him respected, and his quiet, per-
sonal charm (so happily lacking in useless "tempera-
ment") will make him liked.
Murnau was born of good family in a small town of
Westphalia. He was well educated. He became inter-
Comes to America
Talks of Movies and Men
ested in the theater a few years before the war, al a time
when great thin^ were being done in the theater by men
like Gordon Craig, Max Reinhardt and Granville Barker.
He worked under the Wring of M;i\ Reinhardt U an actor
and stage director in the world-famous Grossts Schau-
spielhaus of Berlin. He was doing small things, but
learning much under the brilliant Reinhardt, whose pro-
duction, "The Miracle," has thrilled so many thousands of
Americans. Another young German was working quietly
with Murnau under Reinhardt. They became friends,
and were destined to become masters of a new art. The
other young fellow's name was Ernst Lubitsch.
When the Great War came, young Murnau found him-
self in the first line of infantry, in the Royal Guards.
Then for a year he was an officer in the aviation corps.
Like many of us, he was glad when it was all over, and
he turned from the art of the theater to the budding
motion picture industry.
Some of the most famous German actors, Emil Tannings,
Werner Krauss, Paul Wegener, went into motion pictures.
Few Good Ones in Germany
U/e talked about the German situation. What Murnau
*v said will surprise many people.
"Contrary to the impression prevailing here, very few
good pictures are being made in Germany. There are few
good directors or actors ; there are few people who know
anything about the cinema.
The big companies are
loaded with deadwood,
sheep. They follow the
tide, just as it is followed
here. When an interesting
experiment turns out to be
a hit, as 'Caligari' did
over there, they all imitate
it. Or 'Variety.' They
are all doing circus pic-
tures now. Those who
have really been doing
things, the talented, far-
sighted men, have simply
been feeling their way
along. The artists who
made 'Caligari' had no idea
when they started out
what their results would
be. And yet they discovered
some wonderful things,
they were pioneers."
"Too much influence of
the modern stage," I sug-
gested.
"Exactly. I have had to
forget everything I learned
about the stage. We have
had to throw overboard
everything that suggests
the theater."
"Simplicity will be the
keynote of the new films.
"Pictures must be rid
of stage tricks and gags.
"Very few good pictures are
being made in Germany. There
are few good directors or actors.
"What we need is a Max
Reinhardt of the cinema.
"We dont need trained stage actors for
the movies. There is splendid material
everywhere which directors must take
over and mold for the films.
"Few people really know how to play
before the camera. Jannings is superb be-
fore it. The secret of his power is that he
uses his whole body for suggestion.
. "In 'The Last Laugh' I wanted a story
that could be told in a sentence. The
highest point of the drama was reached
when Jannings removed his hotel uniform.
"Chaplin is the genius of the screen. He
is always doing something absolutely
fresh and unconscious."
more about the theater than anybody living. I can w
tell in words bow much association with him meant to me
He seems to know everything, follow everything, He
was the most inspiring Of men t I work under. He ;
old man now ami \ci\ tired: but he is deepl) interested
in what we are doing in the screen. What w<- need
Max Reinhardt of the cinema."
"Most of the film stars in Europe, like Jannings, come
from the stage?" I asked.
"Yes, but that isn't - necessary," said Murnau. "We
dont need trained stage actors for the movies. There
is splendid material everywhere which directors must
take over and mold for the purposes of the film."
Like most of the fine German directors. Murnau has a
passion for perfecting each detail of his picture. That
is one of the distinguishing features of the better impor-
tations. In a pinch. Murnau told me, he would rather
have a raze, untrained person, who had never played be-
fore, than a seasoned star.
Working over his last picture, "Faust," he searched
for many months before he found a young female appa-
rition who suited the part of Grctchen ; she is the
beautiful Camilla Horn, a discovery he is particularly
proud of. Her face
had just the degree of
innocence and child-
like beauty he
wanted. What
a search it must
have been in
these times !
"In that
w a y," said
Murnau, "I get
exactly the effect,
the feeling I want
into the picture.
"For the character
of Faust I" found a
truly old man, a Swede.
Gosta Ekman, who had sel-
dom played before on the
screen."
Here, Murnau spoke with utmost feeling and rev-
erence for Max Reinhardt.
"I feel unbounded admiration for him. He knows
High Praise for Jannings
" Rut Jannings is an amaz-
ing screen actor," I
said.
"Yes, one of the finest
in the world, and a dear
friend of mine. Do not
misunderstand me. Few
people really know how to
play before the camera.
Jannings is superb before
it. The secret of his power
is that he uses his whole
body for suggestion. He
is like this — (Murnau was
puffing out his chest and throwing up his sboulders) big
as a mountain when he is playing a king. And when he
(Continued on page 84)
17
THEM WERE the
The Vitagraph Years
By
Bert Ennis
John Bunny was im-
mensely popular, the
Chaplin of his time
Norma Talmadge did her
first screen work foi
Vitagraph
LEST the impression
be created thru the
title of these
stories, together with the
atmosphere of the dim
movie past which flavors
them, that the chronicler
is a patriarch with flow-
ing white beard and
joints of Ford-like
propensities for creak-
ing, may he say now that he, thirty-five, is still recognized
as an able-bodied press-agent and manages to cover the
distance between his home and the offices of the Brewster
magazines without the aid of a wheel-chair. So kaleido-
scopic, so fast moving, so ever-changing, is this business
of the movies and its personalities that sixteen years in
the studios may encompass experiences and mark transi-
tions which a normal industry could bring about only in
a stretch of time twice the period set forth.
Looking back thru the years from 1910, the days
of the Bunnys, the Costellos, the
Turners, the Lawrences, the
Johnsons, the Fullers, the Bag-
gotts, the Blacktons, the Inces, the
Sennetts, the Broncho Billys and
Alkali Ikes, the single stage studio
and the double lens camera, the
split reel and the custard-pie com-
ics, the cold finger of fact may
point and point to the Moores, the
Lloyds, the Langdons, the Negris,
the Swansons, the Fairbanks, the
Stroheims, the Coogans, the mag-
nificent ten-stage studios, the
great salaries, the stereoscopic
cameras, the huge spectacles —
point to it all in its immensity and
its improvement. But to those
who made the movies in 1910 —
"Them were the happy days."
Those Early Vitagraph Days
T was fortunate enough in that
Wally "Curie" Van, the
juvenile comedian, dis-
covered the Sidney Drews
year to join the ranks of those
pioneers, Blackton, Rock and
18
Wally. Reid got his start with Vitagraph,
playing atmosphere
Mary Maurice was the
first to play mother roles
Smith, in the capacity of
publicity man for the
aggregation of movie
players known as the
Vitagraph stock com-
pany. The word pub-
licity then in connection
with motion pictures
meant simply the bare
announcement of the
title of the film, a brief
synopsis of its story and at rare intervals the names of
the players who appeared in it. To Sam Spedon, now
dead, must go the credit for being one of the first men
of the movies quick to recognize the tremendous public
interest evinced in players of the screen and to gratify
that interest by acquainting the early fans with the names
of their favorite troupers and with information concern-
ing their personalities. As Spedon's assistant, I had a
hand in the work of "telling the world" about the early
Vitagraph performers, a work which today involves the
use of departments of specialized
writers, artists and advertising
men. Two of us did it then.
The Vitagraph company in
1910 was located in what was
then an obscure part of Flatbush,
a suburb which existed only so
that vaudeville monologists could
pull wheezes about it. The studio-
was a one-stage affair, glassed in.
Its entire lighting equipment
would be hardly sufficient for the
illumination of a single set in one
of the average program films of
today. Despite this fact I ran
thru my fingers recently a strip of
old Vitagraph negatives — one of
the first pictures in which John
Bunny appeared. The images
were perfect, the photography
clear and sharp, the film itself in
excellent condition. The cameras
were cumbersome affairs, made
more so by the use of double
lenses, which meant that two
HAPPY DAYS
The First of a Series of
Articles About the Pioneer
Days of the Motion Picture
— Before It Became a Highly
Specialized Industry
Above, Kenneth Casey,
the first child actor to ap-
pear on the screen. At
the right is Clara Kim-
ball Young, who rose to
fame as an emotional
actress
negatives were made at
the same time — one for
release in this country
and one for foreign
consumption.
To the Yitagraph of the old days
belongs the greatest credit for
making American manufactured
movies the most popular in the
world. To strengthen the hold
which their films were acquiring on
the early fans of Great Britain and
the Continent. Messrs. Blackton,
Rock and Smith on various occa-
sions sent John Bunny and
Maurice Costello abroad. The per-
sonalities of the rollicking fat
comic and the dashing leading man
on these tours increased by many
thousands the followers of Vita-
graph movies in foreign lands.
Many Stars Discovered
And what a parade of
present-day celebrities
passed before the lens of
those old-fashioned
double-action cameras, in
many instances making
up the meagre handful of
extras who supplied the
necessary background at-
mosphere for the work of
Florence Turner. Cos-
tello, Bunny, Flora
Finch, Lillian Walker,
Earle Williams, Wally
Van, Edith Storey and
other former idols of
screendom.
I have stood on the side
lines of a set in the old
days watching the late
In the center is Flora Finch, who played opposite Bunny.
Above is a scene from a Vitagraph comedy with Wally Van,
Lillian Walker and Kate Price in the foreground
Above, Maurice Costello,
who did more to establish
the star system than any
other player on the screen.
At the left is Florence
Turner, one of the bul-
warks of Vitagraph
and much loved Wally
Reid playing atmos-
phere, the present-day
widely known Harry
Morey appearing in
three small, but distinct characters
in the one film (because of his
constant portrayal of a policeman
Harry was familiarly known
around the studio as "the Yita-
graph cop"). I have seen Con-
stance Talmadge third in a row of
sweet young extras supporting
Wally Van in one of his comedies
while the then unknown Norma,
her sister, was just beginning to
attract the watchful eye of J.
Stuart Blarkton with her promise
of dramatic ability in minor roles.
I have seen Ralph I nee, later to
be one of the screen's greatest de-
lineators of Abraham Lincoln and
among the present day's
most competent directors,
nonchalantly assisting in
the erection of a set,
hammer in belt, and af-
terwards playing a small
role in support of Ken-
neth Casey, the fir.-t child
artist, on the same set.
The bright-eyed, trim
little girl who filed her
name ' for work with
Harry Mayo, the first
casting director of the
production field, used a
name which goes up regu-
larly today in electric
lights on the marquees of
the world's biggest movie
houses — Norma Shearer.
(Continued on page 65)
19
International
Newsreel
An airplane view of the stream of white
hot lava, from the side of Manna Loa,
pursuing the course of destruction
Willard Vanderveer and Robert Donahue of
Pathe News. Vanderveer is holding the only
picture camera that actually went to the North
Pole. It was operated by Byrd, himself
Pathe
-«Sm
The newsreel boys were on the job when
General Villa was cutting up didoes.
They "shot" the Mexican bandit when
he crossed the American border
Pathe
Remember the battles in Ireland? Here
are the Irish Free State troops in a
street fight with the rebels during the
crisis of Erin's civil war struggle
20
CHARMED I
Lives and
RECKLESS
THE newsreel cameraman. Let's give this little boy a hand,
folks ; Heaven knows he hardly ever gets it. Tho he travels in
jungles with snakes trying to pierce his boots, tho he makes his
tortuous way on chilblained feet in the north country, tho he climbs
mountains, and penetrates fire and water for an unusual picture,
nobody ever hears about him, and tho movie audiences sometimes
wondex how a certain effect could be achieved in the face of evident
danger, they seldom take their curiosity out of the theater with them.
A few months ago, film patrons were thrilled to behold the vast
whiteness of the North Pole spread out before them upon the screen ;
lazy icebergs floating imperceptibly, masses of snow and ice with
scarcely a break between, and, like a bee, a swift airplane that darted
thru the frozen solitude to write a brilliant page in aerial history.
And a few weeks before that, on the same motion picture screens,
a cataract of steaming lava was shown plunging its way down a
Hawaiian countryside, sweeping before the terrible majesty of its
power native huts and giant palm trees as if they were cardboard
toys. Audiences were properly awed to see before them these
distant phenomena while they themselves sat safely and comfortably
in the upholstered chairs of their favorite theaters.
Always On the Job
U/hy is a news cameraman? He, least of anyone, can tell you the
" * reason. I asked half a dozen of the veterans and the only answer
I got was, "I dont know. It sort of gets you and first thing you
know, you cant get along without it." Anyone who has known the
smell of newsprint, or that indefinable odor that exists only back-
stage, or the acrid aroma of tanbark in the circus, or the particular
poignancy of any job that one loves, knows just how the camera-
man feels.
Money ? The news picture man is well paid, but not exorbitantly.
Comfort? Dont make him laugh by mentioning it. Stability? Ex-
cept to the topnotchers, work is an intermittent affair. Meeting
Pathe
On the left the news-reelers succeeded in capturing the high spots of the
famous evolution trial at Dayton, Tennessee. On the right is a close-up
of the surrender of Abd-el-Krim
On Life's Big Sets the Ncwsreel Photog-
raphers Set Up Their Cameras. With Un-
daunted Courage They Scoop the Facts That
Make the World a Stage of Unceasing Drama
By Selma Robinson
celebrities? Being a [>art of a mad, mad chSM for adventure?
Variety? Romance? Wanderlust ? Not any of these tilings and
\ct I mixture of all of tliem keeps the news photographer on his
job in winter or summer, day or night, sun or storm, in all the ex-
tremities you can name.
A cat may look at a king, hut a cameraman may give him orders.
When titled personages visit our shores, they are told how to stand,
how to sit, how to smile, to talk and to walk for the benefit of the
movie camera. What is more, most of them obey. The cameraman
must know not only how to work his machine ; he must be able to
sell an idea to the person he wants to photograph, for some people
are notoriously camera shy.
"Smile, your Majesty," a cameraman told the King of Belgium
when he visited Manhattan, and the King smiled. Another directed
the Prince of Wales to look up at the Woolworth Building in amaze-
ment. You probably remember the shot of his royal shyness doing
exactly that. He takes personalities like Gloria Swanson and
Suzanne Lenglen, known for their temperament, and makes them do
what he wishes by suavely whispered words of advice.
Goes Everywhere, Sees Everything
attempt to count all the newsreel men in this country would be
a pretty hopeless job. The corps of photographers needed by a
news film agency spreads like a network over the face of the whole
nation, the whole world. A gO(5d picture may happen anywhere. A
fire, a parade of negro children, a Chinese wedding festival, the birth
of quadruplets — if you go to the movies at all, you know that the
news camera goes everywhere and sees everything.
Since it would be beyond the power of even million-dollar con-
cerns to employ regularly this immense army of photographers, the
newsreel works in much the same way that a newspaper does. A
metropolitan newspaper has a staff of reporters who are given assign-
ments in their own city and occasionally sent out of town to "cover"
a story. In addition to the regular staff there are district men whose
duty it is to keep watch over their particular fields, the police courts,
the suburbs and so on. But besides all these men, there are the
space writers who are scattered all over the country to report any
(Continued on page 70)
T.
The polar ship, l.haniitr, and the Byrd
polar plane are shown here just before
the start of the Byrd expedition over
the North Pole
Nr t
Pathe
The news cameramen caught the Russian
Revolution in 1917. The view shows Trotzky
addressing thousands of persons at the national
capital
International Ntwsrcti
A photo taken by a daring cameraman who felt
the heat of the lava as he clicked his shutter.
The eruption wiped out the village of Hoopuloa
eathe
George A. Allison, left, International Newsreel's European manager, flew
from Stockholm to Southampton with the polar films. On the right is a^
seme that's always good "copy." It shows the coronation ceremonies
for King George and Queen Mary at Bombay, India
The big airship, Norge, which carried
Amundsen to the North Pole, is "shot"
by the cameraman as she arrives at
Spitzbergen
21
More INSIDE FACTS
By Percy Knighton
Drawings by Seymour Ball
THE Classic of the April issue contained an article,
"Inside Facts About the Extra." That story cov-
ered a portion of the problems of the extra, not all
the troubles and trials were mentioned. This is a sequel
story.
Since the publication of the article already mentioned,
a new method of getting work has been established, it is
more difficult now to break down the barriers which lead
to even an ordinary day's work. Here goes the blow !
For the first time in the last century I managed to
corner a very well-known and attractive young lady who
does the greater part of the casting for a large produc-
tion unit. She was chosen because she handles a great
army, an army that outnumbers the World War forces
in action and desire, and, after telling her of my purpose,
she sighed and said, "Oh, I would like to write a book
about the movies and Hollywood !" She sighed again
and added, "There is so much, so much, I wonder why
people kid themselves, I wonder?"
In case you are in doubt about her deep sigh and her
intense desire to write volumes about Hollywood, then,
take a few moments and read on, read this artless tale
which is written for your guidance, providing of course,
you are planning a picture career. And if you are not
bent upon the movie profession, if you do not intend to
board the movie train, then, read it to see "why people
kid themselves !"
The Day of Reckoning
Evidently, Mr. Will Hays had the same thought, and,
the same question to solve. For not very long ago an
organization was born overnight. It was The Central
Casting Bureau. It is now The Central Casting Bureau.
This baby of the movies is owned and operated by the
world's largest producers. And it had to be done ! Why ?
So far, many hundreds of good, intelligent people who
hitherto had worked in pictures for a long time, and,
those who were fairly successful, now find it al-
most impossible to get work anywhere. A pass-
port to Heaven would be an easy task in com-
parison to getting a job, direct or indirect, or
thru the Central Office. Herein lies a story —
one, which may add insult to indigestion. But I
shall- tell the truth and go on playing faithfully
my role — the jackass.
During the "old days" when most of us were
doing fairly well, averaging a meal every other
day or so, there was in full force and existence a
firm known as Screen Service of Los Angeles.
This body of classic gentlemen handled an
enormous business which seemed legitimate,
popular and efficient. Ah ! 'twas many a slice
of bread Dear Old Screen Service passed the
professional extra who knew his or her business.
(They couldn't be registrants of "Screen" un-
less they knew their stuff.)
And Screen Service took seven per cent. (7%) of your
salary for getting the job for you. Merely a crumb from
the whole loaf. And so far as the eagle eye could see,
everybody seemed happy, prosperous and pure. With the
exception of a few "favorites" whom screen service offi-
cers boosted and kept busy most of the time, there was
22
little reason for kick or complaint from any person.
Everything, as the song writer said, is hotsy totsy now
— only it was then. You could get work at the studio
casting offices then. In exceptional cases some get work
that way now. But most every person is gotten from
The Great Central Office.
Now there crept thruout the United States a monster
serpent of desire among other jackasses who well deserve
their title because they wanted "to go to Hollywood and
become famous overnight and send Ma and Pa a thou-
sand silver seed the next morning after arrival."
From Every Walk of Life
The hour of reckoning came when Old Screen Service's
files bulged from a burden of thousands of names ;
names of people who made a list ranging from a Podunk
graduate of some dramatic school to a model for neck-
ties and hats. Yes, names ! names ! names making a cross-
word puzzle look flimsy. There was the beautiful,
golden-curled, perfect stage child, the- fancy-vested swain
who could tell you the price of butter and eggs.
Indeed, there were the big chicken dealers, hobos, farm-
hands, cowboys, swindlers, consumptives, tired business
men seeking adventure, cripples, safe crackers, weak-
minded and brilliant, the society damsel and the dollar
clivers, the wets and drys, Republicans and Democrats,
radicals, black and white, pale and pink, short and long,
blondes and brunettes, soldiers, sailors and slackers, prize-
fighters, wrestlers, barbers and boiler-makers, and, assur-
edly, ladies and gentlemen ! Ah ! ladies and gentlemen.
It is true that each of us will believe ourselves the latter.
But it will be best for you to take the pair of shoes that
fits and take a walk — a walk back home
to old trails and past efforts. And
you'll succeed, get along in the
world.
The tidal-wave brought the
thousands from all parts de-
manding their share of
movie fame and fortune.
,
4
ABOUT the EXTRA
A Remarkable Real Life Document of the Many Who Call
and the Few Who Are Chosen
\inl some of those thousands descended upon OKI Screen
Service like- a cloudburst "Why do the) Will themselves,
I wonder?"
And along <. aim- Mr. Will Haw to make the thousandth
and ontl He left behind a wonderful job (can you bea1
it5) in Washington, D. C . to join the rest of us. Mm he
came to be the Great Leader That's different And
he has done well. Not long was it until the people — all
those mentioned, made a plea to Mr. Hays to help them.
Ik' did, too. He sent a mob "back home and broke"
But those who refused lingered On -till hoping, still de-
manding, something which never existed for them. And
they had to pick on Screen Service as their objective of
Trouble and Turmoil. Why should there be an organiza-
tion to take from us a percentage "i our salaries? (Most
of them never drew a dollar from motion pictures.)
Trouble brewed and stewed worse than your home-
made beer. Finally, such pressure was brought to sur-
face that only one outlet seemed available ; only one ave-
nue of escape or relief seemed near or possible. Yes!
kill Screen , Service ! Ah ! there is the Shiver in
Screenland ; the Shake in the Service ; the "nigger" in
the wildwood ; the odor in Smellville. Or the decomposed
nicotine in Copenhagen ! — Hollywood. Do away with
such graft! We appeal to you, Mr. Hays, to help us.
Great problems came to Mr. Hays, greater than some of
those in his past affiliations with the Government. Be-
fore and After.
Still Kidding Themselves
Dvt he did the trick, he gave the poor fools what they
^ wanted — and they're still kicking, crying and belly-
aching, and, flocking to Hollywood. Nay, I say unto you.
fair little casting director or "directress," "Why do they
kid themselves, I wonder?"
( )n several occasions I have given little talks to people
in the movies. In one instance it was a group of aspir-
ants who had never worked a
day in pictures. In the other
instance it was a group of "old
timers" with whom I have
worked at different times. And
be it known that I really thought
these people wanted the truth.
Did they? NO!
M\ popularit) probably fell below sea level when I
told them that then own predicament was due tO tlun
own shortsightedness and stupidity ; that their food sup
I)ly I they do not need COal in California) was diminished
tecause, as that song writer said, the) f wget to remem
her. And those who, apparently, have beer left in the
rain without umbrellas forgOl to take a peep at the black
sky made that way by means and manners already stated,
plus that same complex which daily finances Hollywood
bound trains. They forgol to remember I
When the big day dawned, came reveille tragically
Spreading its weird note of defeat for those now in hope-
less combat with their enemy. And if this is mutely
demonstrated, then, it is certainly obvi-
ous to those who could help in a
way, that to shun an act of "get-
ting them in" is only indica-
tive of a decision in the
negative because of the
silly, foolish methods of
past activities. And
on the parts of those
mentioned.
It is true that
many clubs have
been orga-nized,
studio-actors-
u p 1 i f t-c i v i c
clubs they are
(Cont'd on
page 67)
M
They come from every walk of life — these extras, and their
names would make a cross-word puzzle look flimsy. A
passport to Heaven would be an easy task in comparison
to getting a job in the movies
23
^k ff*$
A
BETTER
MAN
than
GUNGA
DIN
Ball
Ben Lyon has advanced and given the
countersign. It is Bigger and Better Pic-
tures. Safely in the First National en-
campment, he will execute some military
maneuvers in "The Great Deception." This
is a picture in which the blithesome Ben
clicks his heels as a student of Heidelberg
and takes the air as an aviator in the Royal
Flying Corps of England. The top photo-
graph shows Ben in the gay uniform of
student days — and the bottom photo shows
him in the uniform of an English lieutenant
of aviation. As the dual role is the most
substantial he has ever had, there is no
question but his public will Lyonize him
24
Ohio California-
fca^ cJbvc !
Wanna,
wffeiba.
By
ELLISON HOOVER
THE CHARGE OF THE
ALIEN ARMY
ON FORT HOLLYWOOD
25
Three More Authors
Keystone View Co.
John Galsworthy
Courtesy of Doubleday, Page Co.
Margaret Kennedy
By Henry Albert Phillips
/OHN GALSWORTHY is considered one of
England's greatest novelists and playwrights.
Without thinking at all, one would think that
the whole ''rotten" condition of the Movies
could be rectified in a twinkling by this biggest-
cahbred English dramatist of the day. Here
was the Hercules who takes the whole movie
earth on his shoulders and walks off with it.
For the man who had written novelsjike "The
Forsyte Saga" and "The Patrician," and plays
like "Loyalties" and "Justice," surely the writ-
ing of a little photoplay would be less than
child s play. I determined to run up and have
a little chat with Galsworthy about it, since I
happened to be in London at the time.
John Galsworthy lives in one of the most
charming as well as select suburbs of London,
Hampstead. It is a zig-zag journey out there,
altho Hampstead is actually in London. ' You
take the Underground at Piccadilly, change at
Oxford Circus for the Central London where
you ride to Tottenham Court Road and change
again for the City and South London Line that
takes you straight to Hampstead. But when
(Continued
26
JyTARGARET KENNEDY is one of the
•^ newcomers among the novelists. By the
single stroke of writing "The Constant Nymph"
she has sprung into enviable fame. To reach
her I climbed five nights of stairs to the top floor
of one of those grim-looking houses that front on
Cornwall Gardens in Kensington.
I found Miss Kennedy just as retiring and re-
served as her book had been forward and
loquacious. She confessed almost in the first
words that she liked the films.
Weren't they going to film the "Nymph," I
asked.
"It cant be filmed — in America, where I be-
lieve that practically all of the filming is being
done, I understand. You see the book has been
censored and therefore cant be done. I cant see
what they object to. The children in the story
were too young, or something of that sort.
Fancy! When I look about and see what they
are doing !"
"What? Who?" I asked. "The children or
the films?"
"Both," she smiled. "The Film Company has
on j>age 77)
Consider* the Films
"What I resent in the films is that you
get thoroly emotionalized sitting there for
two or three hours waiting for something
worthwhile to happen — and then you find
that you have been scuffered. It isn't that
they dont try to give you something. They
do, and fail!" — John Galsworthy.
"The movies are always making a mis-
take by writing down, and I dont think
anything is ever accomplished by writing
down, to the public. It is a backward step
to be always underestimating the calibre of
the public mind." — Margaret Kennedy.
"Motion pictures are intricacies — and in-
tricacies are concerned with the mind and
not the emotions. It is my theory that a
good player or story is bound to hold a
house full of human people — and human
people are bound to be held thruout the
portrayal of any great emotion." — Lord
Dunsany.
Lord Dunsany
Keystone View Co.
The Sixth and Concluding Talk About Motion Pictures
With Famous English and Continental Writers
j\ LL said and* done, the successful produc-
*^^ tion of a gratifying photodrama is a work
of Art. In this Anno Domini, this film Art
reaches, entertains and moves more people than
all the other Arts put together. Finally, the
Movies is the simplest of the Arts by far.
Neither a special nor even a general education
is necessary in order either to understand or be
entertained by it. The only equipment requisite
for an audience seems to be a normal heart, a
set of healthy emotions, a smattering of human
interest and a wee bit of imagination. Being
gifted with too many brains will often spoil the
show.
The above does not sound like a definition of
an Art at all. It might be a calisthenic exercise,
or an international kindergarten formula. It all
seems too low-brow and too easy for an Art
thesis. Wherein lies any glory for "artistic"
people who are always seeing things in Art
works that the common herd never can see — or
never want to? Art has always been "difficult,
both to make and to understand. Therefore,
calling this new upstart of an entertainment an
(Continued
JORD DUNSANY'S plays lend themselves
J~^' admirably to film translation. "The Gods
of the Mountains," "The Golden Doom," and
'The Glittering Gate," are gossamer sort of
works to which only a "drama of silence and
shadows" can do full justice. We have not be-
gun to see and feel the wonders that the screen
conceals in its power to portray mysterious,
ghostly, far-off things such as Lord Dunsany
writes.
I asked Lord Dunsany to explain to me why
he always sought out ancient and mysterious
problems.
I portray them because the oldest emotions
are the deepest. Things that concern New
York and London are no older than New York
and London. The whole world is filled with in-
tricacies and intricacies are concerned with the
mind and not the emotions."
Among the intricacies I knew that he num-
bered the motion picture, for he is not sold on
the motion picture idea, altho he goes to see
them.
It is my theory that a good play or stoiy is
on page 77)
27
((
We Respectfully
By Ken Chamberlain
To First National. Anthony lightly tossed away
an empire and Cleopatra must have had plenty of
"IT" to win the toss, hence we suggest Harry
Langdon and Colleen Moore for the roles, just to
be different J-
To William Fox. Tom Mix falling off his horse
would be a novelty. Why not have him do "The
Life of the Prince of Wales"?
To Warner Brothers.
Wont you loan Dolores
Costello to United
Artists and let them
use her with Buster
Keaton in that w. k.
tragedy of love, "Romeo
and Juliet"? Buster has
the most tragic face in
the films, and we
haven't seen Miss Cos-
smile much either
To United Artists. We hope that you will en-
courage John Barrymore to continue in juvenile
roles such as Little Lord Fcuintleroy, for instance
28
..
Suggest
yy
If the Producers Are Really Serious in Giv-
ing the Public Something New, Classic Is
Willing to Aid Them With These Suggestions
To Cecil De Mille.
While on Biblical sub-
jects, why not start at
the beginning? The
Creation of the World
might be a bit beyond
you, but you could give
a real Garden of Eden
at last — with Wally
Beery as Adam, some
gal from Mack Sen-
nett's as Eve, and Lon
Chaney as the snake
To Universal. Now that the North Pole
has become a tourist resort and there is a
screen star from practically every other
country, why not let Laura La Plante and
Reginald Denny double for the Eskimos
until they have a beauty contest and
produce a star
To Metro-Goldwyn. "Hamlet" has been staged in modern dress and settings. Why
didn't you do the same with "Ben-Hur"? Novarro in a tin chariot and plus fours might
have been even more interesting than in a tin helmet and minus most everything else
29
Jonquil loved the Bible readings on Sunday evenings. She and Grandmother Rogers would sit under the
lamp in the parlor and Grandmother would read brimstony passages in her ice-cold trickle of a voice
Synopsis of Preceding Chapters
JONQUIL is a child of the theater. With parents
associated with a traveling repertoire company, the
little girl is throzvn constantly into a shabby make-
believe world that jars her sensibilities. She
loathes everything connected with the lives of show
people — the ill-smelling dressing-rooms, the grease-
paint, the shoddy hotel rooms, the badly cooked meals
— and, above all, she cannot take her parents seri-
ously, especially when they play tragic roles.
Jonquil longs for the things of life associated with
velvet lawns and shady trees. She wants to be like
other little girls — play with dolls and wear becoming
dresses. She has no place she can call home. Her life
is spent between watching her parents or playing child
roles — or crying herself to sleep in an unkempt room.
After her mother's death. Jonquil grew out of child
roles and her father, frankly disappointed with her,
takes her to her grandmother's country home. He
is determined to be rid of her and advises her that
if her grandmother doesn't want her, she will have
to be sent to an orphanage.
Jonquil's joy at leaving the stage is. mixed with
sadness. She anticipates an aloofness on the part of
the grandmother, whose idea of stage people is some-
thing not to be encouraged. Tremblingly she pro-
ceeds to make herself at home and wanders over her
reception.
Now you can begin with the current instalment.
30
PAINTED PEOPLE
By Faith Service
Illustrated by Douglas Ryan
P\P\ was speaking
in his most sonorous,
most po r t enl 0 U S
voice. He was clearing
his throat a great deal
ami breaking out into
lit tK- husky silences. It
ust as if he were de-
livering an oration or one
of those curtain speeches
he made whenever there
was, or was not. the
faintest opportunity. It
did seem as it" papa might
know that this was the
supremely one time NOT
to talk like this. It did
seem that he might sense
that this was not the way
to talk in Three Trees, on Grandmother Roger's cleanly-
swept front porch, in front of Grandmother Rogers her-
self. It came to Jonquil as a faint far instinct that this
was the reason papa had not got very far in his profes-
sion. He didn't ever sense anything.
Funny that he didn't see the look of contempt on
Grandmother Roger's face — when it was so painfully
evident.
Grandmother Roger's face was thinner than the face
Jonquil had dreamed of. It had sharp little angles, like
pin-pricky places. She had dreamed of a rosier face,
more comfy. . . . Oh; well, you cant have everything
and after all, it was a great deal to have a Grandmother
Rogers with a white and green house in a white and green
New England town . . . with nice people . . . particu-
larly a great deal when you happened to be the child of
Percival de Vere. . . .
. Grandmother Rogers might have called out to you and
told you to "run along" when she saw you advancing so
fantastically up her garden path. That garden path . . .
those glimpses of wallflowers and zinnias and petunias
and quaint stiff sweet-william and droopy asters, rosy
and violet and white . . . perhaps they would let her
help take care of the flowers . . . oh, but what was she
thinking? Why did she run on the way she did? When
Grandmother might not even be going to let her stay?
Her face did look forbidding. Cold. Edged. Her lips
a little blue and drawn like a taut thread across the
tombiness of her teeth.
Papa was saying, "Well, daughter . . ." (he had
never called her daughter before in his life) "Well,
daughter . . . ahem . . . your grandmother has very
• kindly consented to . . . ahem . . . take charge of you
for the . . . ahem . . . trial period of one year. Very-
kindly. Very. She makes the stipulation that you . . .
ahem . . . behave yourself like the . . . ahem . . .
little lady your poor dear mother and . . . ahem . . .
and I have always trained you to be to the best of our
. . . ahem . . . poor powers ... I have told your
grandmother that this is the . . . ahem . . . final sacri-
fice for me . . . the final . . . well, shall we say giving
Stories of the theater are ever fascinating.
They become particularly fascinating when they
depict a highly sensitized character determined
to escape the tinsel of the show world. Such a
character is the heroine of Faith Service's story,
"Painted People." The author has written an
absorbing tale of a girl reared in the atmosphere
of the theater — who tries to find expression in
the things that count in life. Readers of the
CLASSIC will find in Faith Service's serial
story all the elements that enliven the
• imagination.
lip? But a father's dutj
. . . paternal protective
ncss . . all those cotuid
(■rations enter in . . .
the separation will cut mj
. . . ahem . . . heart
strings . . . will leave
me vet v much alone . . .
sadly desolate . . . hut I
feel it to he the . . .
ahem . . . best thing for
you . . . I . . ."
It was Grandmother
Rogers who finally cut
the declamation short.
Just in time, too, Jonquil
felt. Her father seemed
to be working himself up
to a bigger "scene" than
she had ever seen him portray upon the stage. He
seemed to be throwing himself into this suddenly con-
ceived and fantastically executed part with a gusto that
was really alarming. The veins on his forehead stood
out alarmingly. The pulses in his thick throat seemed to
be tiny hammers of horrid force. Again Jonquil had the
uncanny intuition that he was doing all this so dramatic-
ally because he so much didn't want her, not because he
so much did.
She felt an almost unbearable scorn of him. Did he
feel that he was deceiving anyone? Did he think that
they believed him ?
Grandmother Roger's voice when it broke in was like
the tinkle of thin. ice . . . those long blue slivers of ice
that can cut your hands so abominably.
"It isn't necessary, Mr. de Vere," she said, "to draw
this preposterous scene out any longer. T have told you
that I will take the child. If she is quiet and well behaved
she may remain with me — because she is a child, not
because she belonged to — your wife. It seems to be my
duty. The ways of Almighty God are inscrutable and
no one knows this so well as myself. The child may re-
main— my one stipulation is that you do not put in an-
other appearance unless sent for."
Percival made a gesture intended to be a compound of
finally bitter resignation, despair and martyrdom. It was
a masterly effort. It occurred to Jonquil that he was
playing all this much more professionally than many
scenes she had watched him blunder thru behind the
footlights. It was because it meant so much to him — to
get rid of her. It was so that he could be alone with
Rosie, with the girls who smelled of rank perfume and
giggled and sent for orange juice. . . .
His footsteps resounded as they departed down the
trim garden path. Jonquil supposed that the old-fash-
ioned flowers, the murmurous trees had never seen such
another spectacle.
She and Grandmother Rogers were left alone. She
felt a sort of yearning well up in her thinly rounding
breasts. It wasn't homesickness for her father. Not
that. She hoped passionately that she need never see him
31
A Story of the Footlights and Kleigs
again. It wasn't anything to do with the old life. . . .
It was, rather, the simple craving for human contact. If
Grandmother Rogers would open her arms to her . . .
fold her against her breast . . . comfort all the little
wounds . . . the little insulting wounds that were not
little to her . . . the terrible little wounds of child-
hood. . . .
She felt heavy tears pressing against her throat and
at the backs of her eyes. She knew that they mustn't
come thru. That same fine sensitiveness to what was
expected of her that was to make her shadow perform-
ances such delicate etchings in the years to come re-
strained her, made her know that Grandmother Rogers
would not be tender to heavy, thuddy tears . . . the
bursty kind. ...
She wanted to sob out, "I'm going to stay . . . I'm
going to stay. ..." She wanted to run down and
kiss the trim door-step, the tiny bluets, the comforting
small faces of the pansies . . . but she felt, surely,
that Grandmother Rogers would despise such
theatricalism.
You would have to hold yourself in with Grand-
mother Rogers. You would have to cut a little
pattern for yourself. You would have to fit into
it and stay fitted into it. Neatly. Nicely.
She looked at her Grandmother with eyes that
were clouded densely with the held-back tears.
She went over to her and slipped her hand thru
her arm. She couldn't help that one little gesture.
She had to allow herself that. She needed human
contact so.
"You needn't worry, Grandma," she said, "he
wont ever come back."
He never did.
"There were whole days and weeks and months
when Jonquil loved it.
She loved it so that she wanted to take the whole
neat green and white town, including the George
Inn where General Washington had slept, to her
eager little breast.
She loved her Grandmother's house especially.
She felt, at first, that it would be enough for her,
always, that it would satisfy her, that she would be
able to live and dream in it, alone.
The parlor with the dully shining floor and the
oval braided rugs and the lovely pieces of old
mahogany, dulled, too, to an everlasting polish.
Beautiful sheen to them, beautiful to pass your
fingers over them, softly. Beautiful dignity, be-
cause they had stood just there for so many years,
had been so carefully tended.
She loved the white winding stairway and the
flowered wall-papers and the tall four-poster beds
with their gay patchwork quilts. She could amuse
herself for hours figuring over one of the patch-
work quilts. That bit of gay damask, that bit of
cherry taffeta, that incongruous triangle of per-
cale. . . .
Clean . . . clean . . . the fresh smell of mat-
ting and soap-suds and beeswax . . . the fresh
swish of laundered curtains in the breeze. . . .
The old attic. Old trunks and chests and corded
boxes and piles of magazines. Hoarded things.
Things that people had lived with and loved and
kept.
She loved the food. The fresh eggs, the home-
made bread and pickle and preserve, the smell of
32
cake and pie on baking days. Even the boiled New
England dinners.
She took a personal pride in the vegetables, because
she often picked them herself from the kitchen garden;
because she had helped old Elijah, the hired man, hoe
them and weed them. Old Elijah told her stories about
her mother when she was a little girl . . . her mother
had helped in the garden, too, had planted flower seeds
and tended bulbs . . . how could she ever have gone
away with Percival de Vere, red-faced, bulbous?
She loved helping Grandmother Rogers in the sunny
kitchen in the mornings, wiping the old willow dishes to
a shining freshness, laying them away in piles in the
white-papered cabinets. Oh, everything was so clean
... so shiny and sudsy and fresh . . . how could, how
could her mother have left such a heaven-life for Per-
cival de Vere with his cheap, silly suits, his loud, put-
on voice?
Jonquil never quite knew how it all happened, but she got the
stench of dark unhappy things in the gossip that went on
among the old ladies. It was cruel gossip that flayed pretty
young things and hurt and stung like whip lashes
.
And How a Girl Solves Her Destiny
She even loved the Bible readings Sunday evenings
when she .md Grandmother Rogen would sit under the
lamp in tin- parlor and Grandmother would read brim
•tony passages in her ice-cold trickle oi ■ voice.
Now and again when Grandmother was reading the
Bible aloud to her, there came the thin little thread of
the thought that Grandmother hated her. Hut that, oi
course, was absurd. Grandmothers never hate their
grandchildren. It was just Grandmother Roger's wa)
It was because she was neat and precise and cool and
had always looked on peaceful, shiny things. It was be-
cause she. Jonquil, had been used to hoi greaaj kisses,
fierce sudden embraces, the smotheration of pel names,
and lollipops and gewgawy presents.
Grandmother Rogers took her to church every Sunday.
too. It was a long service, but Jonquil didn't mind. She
was doing now, what all nice little girls with nice houses
and front porches and decent gingham dresses did. Even
the sermons didn't seem too dull to her. She could sit
verv erect in the pew, feel elegant and nice. Some of
the other little girls stared at her. but they couldn't stare
at her as little girls in other towns had done, because now
she was Crandmother Roger's child and had nothing to
do with the stock company or Percival de Vere. She
wished that her Grandmother would introduce her to
some of the little girls. It would be fun to have little
girl friends, to go off mi bcrrvinj lie had
some ui the town children doin^. ,,n picnics in tin- *■
and to the lakes where tlieic was wading and swimming.
But, of course, you cam have everything . . . no doubt
Grandmother was waiting to see that she behaved hei
self like a little lady and then all the rest would follow
. . . Betides, in the fall, she would go to school and
then she would gel to know the girls . . . there would
be little clubs and things. . . .
She didn't like to sa> anything to Grandmother about
little girls, for fear Grandmother would think she was
lonely, complaining . . . when she wasn't very.
Was there
LJow she came to hate it I
Was she always to hate everything'
nothing for her to love? No one?
But this hate was worse, if possible, than the hate of
the grease-paint and the leading women and her father
and the smell of back-stage. This hate was cold and thin
like knives running into you. It was frightful because
it was love turned to hate and there is no hate quite so
frightful as that.
The very things she had loved so . . . the flowers
. . . petunias and gladioli and stock and marigold . . .
lovely fragrant names turned to gall on her lips . . .
smug things that she could not touch, that she was not
allowed to touch. . . . "What do you know about
flowers, Miss?"
How she hated the house, too. The furniture with its
smug self-assurance, its air of being invincibly right,
beyond reproach. The priggy clean sheets smelling, self-
consciously, of lavender. The smugger little bedroom
which was hers, the smell of the matting on the floor, the
fresh wall-paper on the wall, the beeswax on the floor.
The dampish odor that exuded from it all when it rained
out of doors. The plain, wholesome, now-savourless food
eaten with that holy air of beneficence and a
false air of humility and gratitude. The front
porch where you sat and rocked and rocked
and then rocked some more and watched the
other girls in the town go by, arms locked, in
twos and threes and fours, pretending not to
see you there when you knew so painfully well
that they did see you, that they were talking
about you. . . .
The "nice" girls of the town. Too nice for
Percival de Vere's daughter. Their sideway
glances, their giggles, their titterings.
Their little mean, scimped ways. The ways
they were nice to you in school when the
teacher was around, when she was looking,
the ways they waited to show you that you
were an outsider and always would be when
they were unobserved.
The insulting way you got invited to some
of the bigger parties in town, the school and
community parties to which everyone was in-
vited, even the factory girls in the class. The
way you were omitted from the small informal
gatherings where all the
good times were held.
That bold brassy girl,
Hilda Helm, who had said
to you one day, "Well, you
needn't look at us as tho
we are crucifiers . . . your
own grandmother told our
(Continued on page 66)
33
The Keystone Kop
Who Became
a DIRECTOR
Chester Conklin
By Peter Milne
fa.*
Pola Negri
IT appears to be a
popular illusion
among magazine edi-
tors that motion picture
directors are not inter-
esting enough to be
brought before the pub-
lic in a close-up.
As Jesse Lasky would
say, let us proceed to debunk
this theory.
I hold that Erich von Stro-
heim is as interesting as
Rudolph Valentino ; that D.
W. Griffith is as interesting as
Charles Ray and that Charles
Chaplin, the director, is every
whit as interesting as Charles
Chaplin, the comedian.
In rare instances only do players have the ascendency
of interest over directors. To your own favorite stars
add Ben Turpin and you have a complete list.
At present the most interesting director on this side
of the horizon is Malcolm St. Clair, the stormy petrel of
the Famous Players-Lasky studios.
As one who knew him when he recurrently fell into
Echo Park Lake in Los Angeles, dressed up as a Key-
stone Kop, it's rather hard to call him anything else but
Mai. But in the light of "The Show Off," "The Grand
Duchess and the Waiter," "A Woman of the World," and
"Are Parents People?" I suppose the "I knew him when"
stuff should be put aside and the formal Malcolm adopted.
Having decided this, I shall continue to call him Mai.
The Keystone Kop Is Hired
A scant two years ago Mai was pleading, almost tear-
fully, for Jesse Lasky to give him a chance directing
a Paramount picture. Today only Lubitsch and von Stro-
heim are ranked above him by photoplay critics voting
in a national poll of newspapers and magazines.
A big accomplishment for a man on whom his thirtieth
year has not yet set.
And today also he chooses what stories he will direct
and what stars. This is because he is pleasantly tyran-
nical in his directorial method. He will not adapt his
style to that of some set star. He has made his high
mark by breaking thru old barriers. For a time he fol-
lowed the revolutionary Lubitsch. Now he follows no
one and has his own disciples.
Ten years ago Mai St. Clair was a member of the art
department of the old Los Angeles Express. He perpe-
trated a sport cartoon now and then. But he was a movie
34
fan and, being at the seat of production, naturally
yearned to become associated with pictures.
He knew Lige Conley, a present-day comedy star, who
was at the time one of Mack Sennett's Keystone Kops.
"Lige told me to come out to the Keystone studio,"
Mai says. "I went out but Lige couldn't get me beyond
the studio gate. He appealed to Owen Moore who was
then playing opposite Mabel Normand. Owen got me
in and got me in to Sennett. Lige must have sold me
good and proper, for Owen said to Sennett : 'Here's a
second Rube Goldberg.'
The First "Gag Man"
"Tn the words of the ads, I got the job. Sennett was
making 'My Valet' then in which Raymond Hitch-
cock starred and in which Sennett
himself played an important part.
Sennett took me out to the location
in his automobile. I was then what
today is known as 'gag man.' I
guess I was the first. I was sup-
posed to suggest funny business to
Sennett. Because I rode out to lo-
cation in his car everybody else in
the company thought I was made.
They went to location by trolley.
"I was a kid then and didn't
know much. All day long, when-
ever Sennett worked before the
camera I burst my sides laughing.
When Hitchcock or somebody
else did their stuff, I was silent.
I wanted to get in right with
Sennett.
"When the
day's work
was done,
Sennett rode home without me.
He didn't speak to me for six
months. He hates 'yes men.' He
had me figured out as one. And
that's how I learned not to be
one. Instead of a glorified gag
man, riding in the boss' car, I was
a member of the Keystone Kops and
fell into the lake at the end of every
picture.
"Still, I was in good company.
The other Kops, at that time, were
Chaplin, Eddie Cline, Al St. John
and Conley. We were permanent.
Others came and went." Ford Sterling
b°OtS(T £RCoK3
Louise Brooks
>^rj
•
Mai St. Clair Has Made Big
Strides Since His Keystone and
Cartoon Days. Here Is a Cameo
of His Film Career and Some
Impressions of the Players Who
Have Worked for Him
Drawings by Mai St. Clair
He Elevated Chester and Ford
\< a Kop, Mai St. Clair supported all the comedy
stars of the day, DOtably Chester Conklin and
Ford Sterling, And now that he is a feature director
he has taken Conklin and Sterling out of the two-reel
comedy class and made featured players and stars of
them.
Conklin was sick of pictures and about to retire from
them to devote all his time to his bean ranch in California
when Mai put him in "The Woman of the World" with
Pola Negri. Conklin's stock went skyrocketing. Today
he is "under a feature contract with Paramount and prob-
ably will star soon.
Mai insisted that Sterling play the title-role in "The
Show Off." He is starred in it. He has ar abiding faith
in the old Keystone players. Incidentally, he told me' that
Chester Conklin's father looks just like him, only his
mustache is real.
Mai is a native Calif ornian but
he has so much Irish in him that
there's almost a brogue. He
very tall. I dont think anyone
has ever measured his full
height. He must have snow
on his head the year round.
He used to come stooping
into my apartment out in Hol-
lywood after the day's work in direct-
ing George O'Hara in the "Fighting
Blood" series, for after becoming a
Sennett director, he branched out.
That was only three years ago and
he'd never been to Xew York. He
liked to hear about it. Today Mai is
known on
Park Avenue
and Broadway. He draws an
enormous salary and gets full
.value out of it. Yet some of his
fondest memories are of the
times that Mabel Xormand used
to buy the entire Keystone com-
pany lunch because the rest
didn't have the price and because
she was — and is — the most gen-
erous girl in the world.
Tried His Talents on the Dog
AXfHEN Mai started directing
features, he was given Rin-
Tin-Tin as a star. He made two
pictures with the dog and then
thought it would be nice to have
a two-legged star. He got one
TO /vi
Tom Moore
Adolphe Menjou
and made a picture but the company thought it was ' so
bad that he was fired. Later the film was picked as one
of the six best of the month in which it was released.
It was after this that Mai started his campaign on
Jesse Lasky. To get this extremely high person out of
his way at the studio Lasky finally gave him "Are
Parents People?" to direct. The understanding was that
if it was good he was to receive a year's contract.
Following the picture's completion, Mai was at liberty.
Naturally, no one knew until the picture was released
whether or not it was a success. Fans and critics
hailed it when it glittered on the silver screens of
the nation's theaters.
And then, helter-skelter, came the rush for the
director's services. Lasky reached him first, waving
his year's contract, but close behind him were the
production heads of other companies.
Today Mai St. Clair can write his own ticket with
Lasky or with anyone else.
In his directing Mai always takes the unusual
angle. Not the unreal. But the refreshing and
original way to tell the real. And he sees the unusual
angle, the unusual side of people.
What Mai Says About Them
[ asked him to name the outstanding characteristics of
the various stars and players he has directed.
"What about Adolphe Menjou?" I asked.
"Menjou? His enthusiasm and his naivete are out-
standing," Mai said.
The suave and sophisticated Menjou naive ! I almost
collapsed.
"Then who is the most sophisticated star you've di-
rected?" I asked, "Pola Negri?"
"Never!" he said, "Pola Negri is the supreme optimist.
Every part that Pola gets it's a case of 'Ach, this is the
greatest performance of my life!' No, not Pola, the
most sophisticated is Betty Bronson."
Menjou naive! Bronson sophisticated!
Add two more wonders of the world !
(Continued on page 81)
35
CELLA LLOYD VAMPS
,/v
»^>.
WHAT'S GONE ON
BEFORE
Cella Lloyd has always
blamed her lack of good
pictures on bad direction.
She feels that Claude de
Focus, the Big Director,
could bring out all her
hidden charms and talent.
But how to attract his
attention? Ah, she will
vamp him in her one-
piece bathing suit. Now
read on!
Claude de Focus, the master of the mega-
phone, has met Cella Lloyd and is im-
mediately vamped. He tells the waiting
world that he has "discovered" a girl with
tremendous screen possibilities who is
destined to become the only real artiste of
the movies
Like any good butter-and-egg man, de Focus promises Cella
all kinds of luxuries — even a Pullman car named for her. He
will give her the big part in his big picture, tho there's a "joker"
in his promise
36
THE BIG DIRECTOR
By
John Held, Jr.
The big director, on
bended knee, solemnly
vows that he can make
Cella his biggest star
if she will consent to
become his best pal and
severest critic at the
altar
But zounds and odsbodkins! No sooner
does de Focus declare his ardent love for
Cella than his wife turns up — the one he
married when she was a strong young thing
in vaudeville
37
HOLLYWOOD'S
WHEN IT'S AFTERNOON TEA
Cedric Belfrage
By
Kate Price
H. B. Warner
WHAT
ho!" chant
the despised and
rejected of the British stage,
as from the windows of the
Golden State Limited their eyes
fasten greedily on the rustic hamlet of
Hollywood.
"Desist !" bellow the wrathful gods of Ellis
Island, as ship after ship disgorges a fresh horde
of deep-chested, fair-haired, clean-limbed, blue-
eyed, freckle-faced, broad-thewed, well-knit,
the. outposts of her empire ? What will those
impressionable people, the movie fans, have
to say about it, anyway?
All the King's Horses
HThe list of British leading men in
Hollywood has grown to
alarming proportions, and
it's still growing. Of
Londoners alone
Gibson Gowland
Dorothy Mackaill
Pauline Garon
Oxford-bagged he-men to swell the ranks of Hol-
lywood's Union Jack Club.
And while, armed with long-term contracts
and disarming smiles, the invaders sit calmly
around imbibing tea and munching muffins
in the secluded loggias of Beverly
Hills, the immigration officers
champ the bit in their island
kingdom. Dare they stem
this ever-growing tide
of male pulchritude
from the bleak
shores of 'fj^f "^s^ «^>
Britain and
L L
Percy Marmont
Herbert
Rawlinson
Holmes Herbert
Marc MacDermott
there are
five among
the most promi-
nent in screendom —
Ronald Colman, Reginald
Denny, Clive Brook, Percy
Marmont, and H. B. Warner.
The English provinces swell the list
with Conway Tearle, Victor McLaglen,
T. Roy Barnes, House Peters and Herbert
Rawlinson.
Nor is that all. The Dominions which bow
the hypothetical knee to His Majesty, the
Fifth of the Georges, add their quota with
Jack Pickford (Canada), Marc McDermott
(Australia) and Montagu Love (India).
Then, on top of that, there's Ireland.
Whatever the peppery Irish may have thought
38
.
UNION JACK CLUB
TIME IN BEVERLY HILLS
Drawings by George Annand
about it. their green and pleasant land used to
be part of Great Britain So we have to
ailil to our list the distinguished names of
Tommy Meighan, Holmes Herbert, Creigh
ton Hale, the three Moore boys and
Pat O'Malley.
Altho they arc inanv. and their _^^
passports are in anything but
proper order, there's no
denying that they form
Charlie Chaplin
Emily Fitzroy
Ernest Torrence
Mary Pickford
Sheik on an Arabian
type. This, however, I
am glad to see, is now being
dispelled. Miss Hull, who for all
her literary faults was careful to see
her own country first, last, and all the
time, met Ronald Colman at Richmond. Sur-
rey, and from that day she never looked back.
The only reason why she didn't call her magnus opus
"The Sheik of Richmond Hill" is that Araby sounds
so much more romantic. In point of fact, the Arab
an 1 m-
posing and
pulchritudinous
array. If it's true
that the law contem-
plates a drive, then the law
wont have everything its own
way. Some of us may adore
Valentino with an adoration that is
akin to worship, but if all the Britishers
in Hollywood were placed end to end — I cant
say where they would reach to, but you
wouldn't be able to see the female adorers for
dust. Adoration is one thing, and dust in the
eyes is another.
True Origin of the Sheik .
A x entirely erroneous impression used to be
current that Miss Hull based her famous
Norma Shearer
has the whiskers but the Englishman has the
technique.
While doing such a remarkably heavy export
trade in masculine sex-appeal, England has
provided curiously few of Hollywood's
female players. What the British femi-
nine export lacked in . quantity it
made up in quality, altho indeed
neither Emily Fitzroy (from
London) nor Kate Price
(from Cork) can be
accused of being
(Continued
on page
68)
Ralph Forbes
Creighton Hale
Wyndham Standing
39
The Forward Fall
The left leg leaves the ground
The right shoulder takes the shock
of the fall
40
The FINE ART
By Hal K. Wells
The left leg
used as a
pendulum
The body lurches
forward
EVER since the well-known serpent in
the equally well-known Garden
served that famous and disastrous
dish of applesauce, the Fall of Man has
been the one great predominating theme
of all broad comedy.
Falls have come to
be regarded as the
funniest sights life can
offer — so long as it is
the other fellow who
does the falling, of
course.
The grotesquely
falling comedian has
been the mainstay
alike of old-time min-
strels and modern cir-
Midway in the swing
cus and vaudeville acts. The advent of
slapstick moving pic-tures raised the trick
fall to almost the dignity of an institu-
tion.-
Custard-pies that crash with charming
messiness into the heavy's scowling fea-
tures, bulldogs which, with pertinacity
worthy of a better cause, cling to the seat
of the hero's pants, grisly skeletons
which cause colored servants to tremble
and bleach like a coal-pile in a snow-
storm— all these time-honored comedy
props have an unfailing appeal to the risibilities but, in the last analysis, it
is the trick fall that is the real king of the comedy realm.
A film comedian unable to do funny falls would be almost as much of an
anachronism as a tongue-tied auctioneer.
Simple If You Know the Trick
Calling looks like a superbly easy stunt to do. Yet in reality, when done
rightly, it is one of the hardest feats in the repertoire of a professional
tumbler.
The mere falling is a simple enough matter. One has merely to remove
both feet from the ground at the same time and, with an immediate and
whole-hearted co-operation, the law of gravity will step in and very promptly
take care of the rest of it. But to fall and survive the feat in reasonably good
health is another, and more difficult, matter.
It is in seeming to fall hard, yet at the last moment cunningly taking most
of the shock of actual contact with the shoulders or hands, that the real art
of the "fall comic" lies.
High falls are frowned upon by most successful comedians, and with ex-
cellent reason. Too much indulgence in high falls brings a condition much
like taking too many wallops in the face during a prize-ring career. A
"punch drunk" fighter has his brains so thoroly shaken up that they
eventually become about as efficient intellectually as an overdone omelette.
In a similar fashion, the shock of too many high falls usually results in
making a permanent "goof" of the luckless victim.
How Bevan Does It
That was one of the warnings that Billy Bevan stressed to me the other
day over on the Mack Sennett lot, while we were discussing some of the
sidelights on the fine art of falling. Billy gave me a number of really
of FALLING
The Trick Fall Has Replaced the Custard Pie as the
King of the Comedy Realm. In Order to Execute It
the Comedian Must Remove Both Feet from the
Ground and Come Down With a Painful Expression
interesting pointers. Eight years in slapstick comedy have not only made
Bevan a past master in the actual art, hut have given him a firm grasp of the
fundamental theories involved as well.
" \ fall must not look acrobatic in any way," Billy explained, "or its laugh-
getting value is lost. When a comedian takes a graceful run, leaps nimbly
into the air and spins thru two perfect flips before coming down, he may
get a gasp of admiration from his audience, but he'll get very few laughs
In order to be funny, a fall must look natural.
"And, in order to look natural, a fall must be sprawling and awkward.
loss of dignity must go hand in hand with loss of balance. The comedian
must kiss the dirt with a thoroness that leaves little to the imagination. Yet
the fall must not be too violent, or it becomes brutal and excites sympathy
instead of mirth."
Then, as it happened to be only two o'clock in the afternoon and Director
Del Lord had just shot the last scene in the current Bevan comedy, Billy
offered to pose for some special shots m order to illustrate the exact tech-
nique of some of the better known falls. Accordingly, we borrowed a speed
camera, a cameraman, and two assistants, and selected the
grassy lawn in front of a bungalow set for our scene of
operations.
According to Slow Motion
The hands take
the impact
The feet fly over
The fall illustrated in se-
quence across the pages
is known among acrobats
and tumblers as the
"Hundred - and - Eight."
The comedian depicted
taking this fall, together
with the Forward and
Backward flips, is Billy
Bevan. These poses are
exclusive and were illus-
trated before a slow
motion picture camera.
A speed camera, better known outside of studio
circles as a "slow motion picture camera," shoots
a subject something like eight times faster than
normal, with the result that catching accurate shots
of a man in mid-air is a comparatively simple feat
for it. After the film was developed we would have
merely to select the
exact "frames" we
wanted, and enlarge
them to illustrate
the various steps in
each fall.
While the cam-
era crew was setting
up, Billy
continued his
brief exposi-
tion on the
technique of
falls in
general.
"If y o U
ever played
football," he
explain ed,
(Continued
on page 82)
The end of the fall is
eased by the left foot
and hip
The Backward Fall
The hands spread for balance
The hands ready to take impact
The feet leave the ground
The shoulders take the impact from
the hands
41
Ball
RICHARD DIX
There's the signal — 16-7-49-25 — and there goes Dix, the pigskin under his arm, for a
run around the end. The dashing Dick has been scoring box-office touchdowns for
some time. His new film, "The Quarterback," should find him still at the top of his
game — which is one good picture after another
42
What It Costs to Be a Well-
Dressed Clubman
(Evening Edition)
By Warren Dow
THE male of the species is prone to tear
his hair, moan in a loud tone of voice aiul
otherwise register Krru-t m l;irK(- quantities
when his wife's bills for millinery and eve-
ning gowns come rolling in about the first
of the month.
Yet, when the masculine fashion plate
Steps forth correctly attired for an evening
at the opera or other formal functions, the
combined cost of the various parts of his
COStume will easily equal the price tag on a
new flivver COUp<
High silk hat, familiarly known
as a "topper," $10
Custom-tailored suit of black
broadcloth, including trousers and
swallow-tailed coat, $175
Vest, or waistcoat, of white silk
material, $25
Gloves, also of white
silk, $5
Patent leather pumps,
$15
Opera top coat, of
black broadcloth, $75
pAMON NOVARRO is noted in Holly-
wood for being correctly garbed on
ever) conceivable occasion, It costs the --tar
about $430 to be outfitted as he is here —
and the end is far from reached. Studs and
links remain to be SCCUred to complete the
costume. The exad COSt of these is a mat-
ter of individual preference ranging from a
possible minimum of $25 or $50 to well into
the thousands.
White silk tie and bat-wing
collar, $2.50
Stiff-bosom shirt, of linen, $5
White silk handker-
chief, $3
Socks, plain black and
of heavy silk, $2.50
Walking stick, $12
Total cost of outfit,
minus studs and links
is $430
C S. Bull
43
The Editor-in-Chief of
the Brewster Publications
Gathers More Notes on
the Busy Activities of the
Stars on the Coast
Impressions of
HOLLYWOOD
By Eugene V. Brewster
I DROVE over to Westwood the other day and watched
the Fox people filming "What Price Glory." West-
wood is about ten miles from Hollywood, and it should
be called Foxwood, because it is all Fox and their Holly-
wood studio will eventually move there. Westwood con-
sists of several hundred acres of fields and hills, all of
which is owned by Fox, but most of it has been converted
into foreign villages. The first I came to was a Spanish
city and it was hard to believe that I was not actually in
Spain, altho it was devoid of people because nothing
was being filmed there just then. The next place was a
complete French village with hundreds of dwellings, hotels,
churches, saloons, etc., and thousands of French peasants,
shop-keepers, children, and soldiers in uniform.
Hurly-Burly Excitement
Daoul Walsh was directing a scene in "What Price
Glory," which, from all accounts, is to excel even "The
Big Parade," and those who have seen the gorgeous
picture, "The Wanderer," will be inclined to believe that
Walsh has the ability to do anything he sets out to do.
The soldiers were real veterans of the World War and
hence required very little drilling, but not so with the
women, children, horses and ducks — the ducks, in par-
ticular. A large flock of geese persisted in getting in the
way of the marching troops, and some of the girls often
failed to wave to the soldiers at just the right moment and
to embrace their sweethearts with sufficient ardor.
Just imagine a director standing near the cameras on a
platform shouting orders to a thousand people who were
scattered about in
every nook and
corner of a scene that
extended nearly half
a mile distant ! There
was the keeper of the
geese, the men in
charge of the horses
and mules, the girls
in the windows, the
captains and corpo-
rals, the men who
were letting water
from tanks into the
stream, the women
who were doing their
laundry on the banks
of the river, the prin-
cipal players in the
cast, and I dont know
how many others who
had to know just
what to do and when
to do it.
Yet, in a short
while this vast human
machine moved like
clockwork, the
"The Amateur Gentleman" will not lack for fine acting — not with
Richard Barthelmess as the star and Gardner James, the "find" of the
year, supporting him
cameras clicked, the regiment marched down the hill
thru the village, the populace waved, the geese quacked
and scampered to cover, Dolores Del Rio ran along the
street in search of her sweetheart soldier, and before I
realized it the cameras stopped grinding and the scene was
finished.
I had been standing alongside Walsh the while, and I
had seen villages in France so near like this one that for
the life of me I could not make myself realize that I was
not actually in France. It was indeed a masterpiece of
composition, assembling and mob-handling, and my hat is
off to Director Walsh.
That "It"
Hne of the principal topics for humorous conversation
around Hollywood is IT. Elinor Glyn invented
this word, and in time it will find a place in the dic-
tionaries with a brand-new meaning. What is It? I
really dont know. But if you ask Madame Glyn if you
have It, she will tell you frankly whether you have or not.
Some think it means what is commonly called sex-appeal,
and others think it means something like charm, wiri-
someness, personality, etc.
At a Marion Davies dinner party the other night
Samuel Goldwyn stuck a large gladiolus in his buttonhole,
strutted humorously over to Madame Glyn and said :
"Have I got It, Madame?" To which the madame
gravely replied : "I am sorry, Mr. Goldwyn, you are a
very charming man but you haven't — It."
I asked W. R. Hearst what it was and if he thought
he had it. He laughed
and said he didn't
know, and would like
to know, but did not
dare ask Madame
Glyn, for fear she
would tell him he did
not have it. I felt
the same way about
it, so I did not ask
her, either.
A Tender Hostess
'There were only two
candles in the cake
at Mr. and Mrs.
Harold Lloyd's last
Friday afternoon, for
it was the second
birthday of their
kiddie. About two
dozen other young-
sters and their
mothers and nurses
joined in the celebra-
tion out in the Lloyd
backyard — or should
{Cont'd on page 79)
44
Owr
OWN
NEWS
CAMERA
International Newsreel
When one is in Pago-Pago, one has to dress like
the natives. That is why Myrna Loy is wearing
a sarong so she may become a Pago-Pago flapper.
The dress isn't calculated to keep the mosquitos
away, but then Myrna is not the kind of girl who
encourages mosquitos
Lon Chaney has played every im-
aginable role in his active screen
life, but that of a hard-boiled
marine. Here he is, the first
civilian in history to feed a big
gun on a battleship so as to bring
realism to "Tell It to the Marines"
Charlie Paddock is just as rapid
in courtship as he is on the
cinder path. With a running
start, he captured Bebe Daniels'
heart in five weeks. In company
with his ardent attentions, he is
showing Bebe how to make a
fast getaway
45
Nothing so simple as a rowboat
or canoe for Frances Lee — no-
sirree! Frances is one of those
girls who wants to get the full
splash of the waves as she sails
the deep on a Christie cruiser
Douglas MacLean, right, is
looking over the latest inven-
tion in golf clubs — an iron
which can be adjusted for all
shots from putting to lofting.
The club is invented by Joe
Novak, w. k. San Francisco
pro
Eddie Cantor, left, is up
to his comedy tricks. He
has buried all feelings of
jealousy while he pro-
nounces the benediction
over the heads of Billie
Dove and Lawrence Gray
— who appear with him in
"Kid Boots"
The close embrace and
the lingering kiss—
that's how Gloria
Swanson and her hus-
band, the Marquis de
la Falaise de la Cou-
draye, put it over when
they bade farewell.
The location? The deck
of the S. S. Paris which
carried Henry back to
his dear France
Underwood & Underwood
Alice Terry is back from a
long stay on the Riviera,
whither she went with her
husband, Rex Ingram, to
appear in "The Magician."
The photo shows her on the
deck of the Homeric
46
Intrf;
Betty Blythe is back after
nearly two years in Germany
and adjacent nations — during
which she completed three
pictures. She is sporting the
latest thing in Parisian
models
"Good-by Girls, I'm Thru!" That's
what "Red" Grange shouted to the
gjrls when the choo-choo cars carried
him away from Hollywood. "Red"
has completed his first and only pic-
ture and is now back on his beloved
ice-wagon in Wheaton, Illinois
Harold Lloyd is certainly in
fast company when he takes
George von Elm on for a game
of golf. George tied with
Walter Hagen for third place in
the British open. He is show-
ing Harold how to sink the putt
Ben Turpin, the cross-eyed
comedian of the movies, has
taken a new bride, the former
Babeite Elizabeth Dietz. Ben
has been a widower less
than a year
When it comes to making sour
faces, Ned Sparks and Raymond
Hitchcock are in a class by
themselves. Ned is casting as-
persions on "Hitchy's" gray
derby while "Hitchy" is telling
Ned that his Western panama
doesn't belong
Internationa] Newsrcel
47
McLaglen saw ac-
tive fighting on
many fronts during
the late war — his
principal exploits
occurring in Meso-
potamia and India
Big VIC
a Soldier of
FORTUNE
ONE thing about the kleigs : they tell the story of a personality as no
other medium can.
In the feature films of recent vintage "characters" have been
holding a side-show of their own ; scowling "heavies," homely purveyors of
atmosphere, have virtually been outbidding their sweeter-looking colleagues
in public interest.
Remember Ernest Torrence in "The Covered Wagon," Karl Dane in "The
Big Parade," Jean Hersholt in "Stella Dallas" — all "characters," playing
minor parts ; deeply lined, ugly, warted faces, gum-chewing, tobacco-spitting,
hard-swearing, sweaty males. They are no longer held down to minor roles,
so great has been their appeal.
What is it?
My guess is that these expressive and scarred countenances tell the story
of a life at a glance. They are not adolescents trembling at the threshold
of experience. These ruggedly hewn and chiseled physiognomies are so
revealing that we can read the record of their sufferings, joys, misadventures
and transgressions only too plainly and draw up the balance. When their
faces in a close-up are spread over some 320 square feet of screen, an entirely
new kind of game is provided for devotees of the cinema.
A Man of Many Parts
Mow there is another face whose deep shadows will loom big in the
close-ups of a film — that of Victor McLaglen, playing Captain
Flagg in Laurence Stallings' war play, "What Price Glory."
It is not an awfully pleasant face ; confined hitherto in "heavy"
roles, of old-fashioned Fox pictures, it has often given us the thrill
of veritable wickedness. By the most rigorous possible screen tests
it has finally been pronounced to be charged with "character" and
^ so McLaglen has been handed over the most colorful role of Stallings'
picturesque play. The difficult Stallings declared himself highly
pleased with the choice.
Captain McLaglen brought down
big game as well as the enemy
during his sojourn in India
No country was forgotten by
McLaglen. Here he is on an
East African estate
48
Victor McLaglen Has Led the Most
Colorful Existence of Any Man in
Pictures. His Crazy-Quilt Career
Has Carried Him as Miner, Adven-
turer, Fighter, Soldier and Actor Into
All the Far-Off Places of the Globe
By Joseph Mattern .
Small wonder! Foi Victor McLaglen is a char-
acter. He is one of the strangest birds thai has
come into tlu' movies in mam a season. Mis screen
face does not lie, for his lite has been a veritable
Odyssey Of adventure, ranging far wider than that
of old Ulysses of the Aegean Sea. since it has traversed
the seven seas and girded the globe several times.
McLaglen has been a plain British Tommy, a gold-
miner, a circus performer, a prize-tighter, an army
officer, a ruler over Oriental cities — in short, a real
soldier of fortune for a quarter of a century. Now
his adventuresome instincts are constricted to
the range of the kleigs and the borders of movie
lots. At the urgence of friends interested in
his colorful career he has finished writing an
autobiography of some six hundred pages which
the world will some day read with astonishment.
Adventures Everywhere
\X7hat is the adventure of stardom
* in Hollywood, if not an anti-
climax, after you have starved in the
hinterlands of Australia and Africa,
fought the heathens and Germans with
guns. Jack Johnson in the squared
ring with your fists, been a tyrant
over the cities of the Arabian Nights,
a companion of princes and waifs,
after you have been to Hell and back?
It is one more case of fitting the
man to the role snugly. Only this one
is somewhat exceptional. Captah,
Flagg in the war play is a hard-boiled
McLaglen has done considerable prize-fighting. His
experience with the gloves enabled him to mix it up
with George O'Brien in "The Fighting Heart"
weathered veteran; many-sided, because
he is a leader of men, his experiences have
made him bitter and philosophical ; his
views on women, for instance, are, to say
the least — interesting. But in a pinch dur-
ing the great crisis, when the moment no
longer calls for the iron front, Flagg turns
out human, human to the core! That, of
course, is McLaglen.
It is not easy to get the man to talk.
The scope of his life story is beyond
the fancy of the most artistic press-
agent. He has felt much, learned much,
thought much. He doesn't wear his
heart on his shirt cuff. There are things
that can never be told. But for the
rest, his autobiography, boiled down, run~
like this :
{Continued on page 72)
One of McLaglen's best friends is the
Rajah of Alcacot at Poona, India. He
spent many weeks with him before
going to the front
Vic served on all the Far
Eastern fronts during the
war and was Chief of
Police of Bagdad
Being an officer, Victor found occasion to
wear "civies." Here he is enjoying a quiet
spin in Zanzibar
49
THE
CELLULOID
CRITIC
Clara Bow and
Ernest Torrence
make "Mantrap"
a picture of en-
joyable moments
Richee
Florence Vidor has been elevated to stardom. In
her first stellar role she appears as a Russian dancer
in "You Never Know Women"
"Padlocked" is one of the most forceful and honest pictures
that has graced the screen this season. These players,
Charles Lane and Louise Dresser, are members of a strong
and well-balanced cast
50
THAT the Germans can dance as well to the tune of
light opera as they can weep over tragedy is
proved with "The Waltz Dream." If memory
serves correctly, this is the first time that something
light and amusing has emerged from the UFA studios.
Heretofore, heavy drama has stalked across their sets.
This new opus is an adaptation of an operatic piece that
was presented on the American stage several years ago.
As plots go, it doesn't get away from a familiar
pattern — in that it is nothing more or less than the
ugly duckling theme. The mythical kingdom back-
ground is employed — and against it a Graustarkian type
of princess indulges in romantic flights and is made
over into a queen of beauty. This occurs after she has
tasted a bit of Viennese life.
Sophisticated Touches
HThe piece has a sophisticated flavor — noticeable in the
scenes prior to and immediately following the mar-
riage ceremony. The princess (played with creditable
spirit by Mady Christians) has her heart set on the
Archduke. But this discriminating son of royalty
catalogs her as impossible. As a result, he wishes her
off on his friend, a gay young count.
The latter, however, unconsciously brings out the best
in the girl. Under the influence of wine the princess
displays some personality. But she reverts to her im-
possible ways when she marries the youth. He is
forced into the ceremony because his kisses are as
sacred as an engagement ring.
Laurence Reid
Reviews the New
Photoplays
The marital episodes are richly amusing and contain
a deal of subtle touches Rejected bj the bride, the bus
band starts cutting up didoes with a fair Viennese who
plays the violin. Which, of course, piques the In hie In
order to win him l>.u-k she ferrets cut the blond fiddler
ami takes lessons in deportment. In the end the princess
stlOWS her Consort that she can stand out in any crowd.
Well Staged and Acted
The Germans have Wept the spirit of Vienna
intact- the atmosphere and incident being
thoroly tn character. A.S for the acting weH
there are other troupers in the Rhine country
besides Emil Tannings. Will) Fritsch, as the
Viennese, gives a performance that fairly
rkles. It is one of the most
adaptable and easy character
studies that has ever graced the
screen.
Something tells me that Fritsch
will soon display his talents out
Hollywood l/ay. He is sorely
needed in this country. I can
think of no one who could have
handled the sequence of the wine
festival and the suhsequent mari-
tal episodes with more grace,
abandon and polish.
All in all. "The Waltz Dream"
spells a most pleasant hour in
anyone's nickelodion.
\\ omen I i whk h
shows something nevn in phot
phj l ike "\ ai let) ' il tells a
of the theatei . tho the plot d
i .u i \ tin ame direct tn
ment, nor i iund in
its construction. Whi
"Variety" prog
lightforwara to it- in«
A drama of one of
America's greatest indus-
tries presents Milton Sills
as a steel worker. "Men
of Steel" was photo-
graphed at the Ensley
Mills in Birmingham,
Alabama
The German Influence
The German influence in so far as
camera technique is concerned
is reflected in "You Never Know-
Rudolph Valentino returns to his favorite
role in "Son of the Sheik" — and reaps new
laurels. The woman responding to his ardent
advances is Vilma Banky
Ufa
A pleasant and amusing romance is "The Waltz Dream" —
from the UFA workshop. Here are Willy Fritsch and Mady
Christians showing how they make love at a wine garden
in Vienna
evitable climax, "You
Never Know Women"
loses its strength before it
is half over and the finish
is saturated with hokum.
What merits it has rests
with its camera work and
the acting by Florence
Vidor (her first starring
film), Lowell Sherman. El
Brendel (who contributes an excellent sample of panto-
mime) and Clive Brook.
It has been said that Director Wellman had not seen
"Variety." If not, he has seen other German pictures
His camera never misses a thing and catches the story
from all kinds of angles.
A Weak Plot
[NFORTUNATELY the film is burdened with a plot which
has gone to the movie mill many, many times. It
presents the theme of unrequited love — with the central
characters the principal performers in a Russian ballet —
a ballet modeled after the lines of the Cluntvc Souris
which created a sensation when touring America. The
heroine is swept off her feet by the ardent attentions of
a monocled American (played by Lowell Sherman in
his best monocled fashion). The Russian lover with a
movieish impulse of self-sacrifice is willing to step out
of her life via the suicide route.
This is a weak gesture which is anything but con-
vincing. But the most unconvincing touch enters when
he returns from his watery grave to chase the American
bounder all over a theater and torture him with knives
which he hurls with deadly accuracy.
The spectator must find the appeal of the picture in
(Continued on page 80)
51
Holland in Hollywood
The dikes, canals,
windmills and
cheese barges of
Holland have
been reproduced
out Hollywood
way
Marion Davies
offers a Dutch
treat of Volen-
dam in her next
picture, "The
Red Mill"
52
- -
THE GENTLE GYPSY
Carol Dempster Has the Soul
of a Vagabond — and Like a
Vagabond, She Would
Live a Hardy Life, Ad-
venturesome and Free
By Gladys Hall
Caricature by
Armando
THE Perfect Life ..." we
said to Carol, "what is your
idea of it? The life above all
other lives you would like to live it
you could wave a magic wand
Abracadabra and presto, have
u so?"
"If I had been a boy." said Carol,
"and 1 wish 1 had been a boy . . .
I should like to have been a vaga-
bond. A gypsy. A sailor sailing
the Seven Seas. I should like
to have tramped the earth, to
have slept under sun and stars.
I should like to have touched at
strange ports ... to have
stayed in them just so long as 1
found color there, Romance, Ad-
venture . . . then sailed on again
. . . questing . . . seeking . .
working my way. if necessary . .
with just enough money to get from
place to place. ... It seems to me that
that would be living at the quick of life.
Really living, you know.
few people really live. So very few
really live their own lives. They live the lives
oi dozens of other people. They are circum
scribed by this and that, caged, hemmed in, forced
to do the thing they really dont want to do, doing
it gracefully or ungracefully as they happen to be.
Poor things, most of them do it all gracefully. After
awhile they dont care. After awhile they become super-
ficially content. That is the saddest time of all.
'For me, the Perfect Life would be the life of a
. roving .
vagabond
roaming
Would Live a Man's Life
The place was Sherry's. The hour was the tea-hour.
The atmosphere was one of head-waitered and hushed
conventionality. Well-groomed women sat to left and
to right of us. imbibing lemon-tinted tea and nibbling at
pastried flakes with well-bred indifference. Carol herself,
in dove gray, her gentle face musing, her clear eyes fired
with dreams of the venturesome Might-Have-Been . . .
if she had been a boy, with the heart of a vagabond. . . .
We feel, now, that we did Carol some sort of in-
justice. We dont know what kind of injustice, but
some kind, we are sure. For we thought that she would
say, demurely, "I should like a little rose-vined cottage in
the country, with baby faces at the windows and a cow
browsing in an adjacent meadow. . . . "' Or that she
would say, intelligently, as her contemporaries have im-
pressively said before her, "I should like best of all a
life of study and meditation ... a life among my hooks."'
( >r, possibly, "I live hut for my Art ... I wish to give
to the world a Masterpiece. ..."
(Continued on page 86)
53
Harold Dean Carsey
WALTER PIDGEON
Just a young fellow who will bear watching — that's Walter Pidgeon, who has come
along fast since the boys demanded a new deal in leading men. Norma Talmadge has
confidence that he can deliver the goods. He has signed to play opposite her in
"Son of the Montmartre"
54
Pity the Assistant Director!
By Irene Burns
The Assistant Directors
Are the Stepchildren of
the Screen. They Are
he Most Abused Men
of the Studios
Their Day Begins With
the Rising Sun and Usu-
ally Ends at Midnight.
They Receive Poor Pay
and Little Credit
At the top is Daniel
Keefe, who has been in
the business a good
many years. He is as-
sistant to Raoul Walsh,
the director of "What
Price Glory." At the
left is Charles Dorian,
who has been associated
as assistant to Clarence
Brown for several sea-
sons. He hopes to be-
come a full-fledged di-
rector in the near future.
On the right is Victor
Schertzinger's assistant,
Billie .Tummel, who is
considered invaluable by
his boss
WHO is the most abused man in the studio?
The assistant director! He admits it himself —
but, what is more important, his director agrees
with him.
The assistant director bears most of the responsibility
in making a picture — yet he receives poor pay and no
credit. His job consists of handling most of the details of
the company — he helps choose the cast, arranges for cos-
tumes, orders the sets, studies the script, handles mob
scenes, takes care of the extras' troubles and that's only
the half of it. He has a hundred and one other things
to attend to and often saves the producer thousands of
dollars by hurrying up the picture.
Assistant directing is a field of its own. There are
good and bad assistants just as there are excellent and
poor directors. The assistants draw from $50 to $250
a week while most of the directors' salaries run into four
figures.
We interviewed a number of the more prominent as-
sistants, chatted with their directors, and watched them
work. After that we agreed that the assistant is really
to be pitied. He arrives at the studio at 7:30 A.M.,
sometimes earlier, to begin rounding up his work for the
day. Perhaps two members of the cast have sent word
they are ill — if they are extras, the assistant gets in touch
with the casting director and suggests two suitable ones
to take their place.
It is necessary that he be familiar with the extras and
also with their wardrobes. If the missing ones happen to
be important members of the cast, the assistant plans to
shoot scenes in which they are not needed. Then he makes
out his reports — in most cases he keeps typewritten records
of everyone employed on the set and every scene taken.
He puts in a busy day and about 6 P. M. returns home,
where he is usually deluged with phone calls pertaining
to his job. He spends many of the evenings when he is
not working at the studio in conference with the director.
We know of one assistant who lost his job because he
refused to live at the home of a prominent director where
they could confer constantly.
Stepchildren of the Screen
Many of the assistants came to Hollywood with the idea
of being a movie actor. After a long struggle as
extras they realized they could never succeed and secured
odd jobs about the studios. Then eventually directors
noticed them and made them assistants
The work is most difficult, but they realize that some day
if they make good they may become directors. Several
of the studios have recently made directors of a few
assistants and it is believed that the assistants of today are
the big directors of tomorrow.
Clarence Brown, who recently finished directing Xorma
Talmadge in "Kiki," has had his assistant, Charles Dorian,
with him a number of years. Mr. Brown says. "I just
could not get along without Charlie — he is as much re-
sponsible for the success of my pictures as I am."
jfncidentally, Mr. Dorian is known as the best assistant in
the business and it is thought the time is not far distant
(Continued on payc 85)
55
These two
photographs
show Noah
Beery as he is
and when he
plays one of
those villain-
ous heavies.
He is one of
many who are
glad they are
making the
villain human
THE past year in Hollywood has produced a film
phenomenon so startling and unorthodox that liter-
ally reams have been written in efforts to explain the
whyfore and the wherefore of it all.
I refer, of c'ourse, to the "Renaissance of Villainy" —
the startling movement that has. apparently almost
overnight, so imbued our leading screen villains with
worthy and even likable traits that they seem almost like
normal human beings.
As a matter of fact, the causes underlying this "hu-
manizing" of villainy are both simple and inevitable.
The whole
thing means
merely that the
public has be-
come tired of
seeing lunatics,
and accordingly,
for the first
time in screen
history, has en-
dowed the vil-
lain with a
brain.
VILLAINY
The Leering Heavy Who Crashed Into a
Scene Like a Rampant Cyclone Has Faded
Out of the Picture
By Scott Pierce
The change is a welcome one. Lunatics, while admittedly spec-
tacular, have certain deficiencies as a steady, dramatic diet.
\nd, by no stretch of the imagination, could the old-time screen
or stage villain be regarded as anything else than a stark.
raving lunatic. In sheer reasoning power, he would have
run a poor second to a three-weeks-old calf.
The stage edition of the "menace" was bad enough —
the suave, bemustached cur who, in the second act,
snarled, "Give meh the papers-s-s-s, or I'll tear up
the chee-ild !" or words to that general effect ; and
who sneered heartlessly in the third act as the
heartbroken old father quavered pathetically,
"Stranger — yuh ain't done right by our little Nell !"
Desperate Desmonds
Then the movies came along and proceeded to re-
move what few faint glimmerings of common
sense the villain still possessed.
For years there were only two standard types of
screen "heavies," and both were lunatics.
The first was the parlor snake, the effeminate degenerate
who smoked perfumed cigarets, affected spats and a tiny
waxed mustache, and whose sole aim in life was appar-
ently to lead astray as many innocent young women as
could be conveniently crowded into a normal working day.
The second was the hairy ape, the hulking moron with
the muscular development of a gorilla, who drank nitric
acid for a tonic and used kerosene for a chaser, and who
beat his brawny chest and furiously engaged in mortal
combat anything that came his way, whether it happened
to be a stray kitten or a troop of U. S. Cavalry.
The last reel usually found the first type of "heavy" in
the penitentiary, and the second type in the cemetery.
Both should have been placed in padded cells before the
picture even started, and turned over to psychiatrists for
a much-needed
mental
over-
hauling.
Becoming Hu-
man Beings
Dut now the
Era of Lu-
nacy has passed.
The screen
"menace" has
become a ra-
tional, thinking,
George Siegmann, left, is one of the
veteran heavies of the screen. He is
also glad to see the villain emerge as
a man of brains. Lou Tellegen, right,
a polished "menace," declares audi-
ences will soon be rooting for the
villain
Freulich
56
versus LUNACY
No Longer Is He the Menace of Melodrama.
He Has Been Polished Up to Think and Act
Like a Human Being
human being, and the result is thai he is at lasl coming into hit own
in popular favor
rhe change is proving as welcome a one to the villains themselves
as to thin screen audiences.
"No self-respecting actor wants to spend his professional life
portraying prospective candidates for an insane asylum," Noah
Beer) explained succinctly "And that is just
what mosl of us had to do for yen- When
I was called on to plaj one ox the old-time
'menace' roles, 1 realized thai the pan
that of a lunatic, and that was exactl) the wa>
I played it portraying i brainless, vindictive
soil of idiot whose heinous activities were
devoid alike of intelligence, motives, human
traits.
"Today everyone realizes that that sort ot
thing is all wrong, In order to have interest
and drama, your audience must have sympathy
for the characters. The old-time villain de-
stroyed that quality for both himself and the
hero. There's no particular credit due any
hero for outwitting a lunatic. The thinking
villain is the dangerous villain. His actions
can not he foreseen with the mechanical cer-
tainty of a phonograph record, and he is thus
made a really worthy antagonist for the hero.
And the fact that he is allowed to be a
thinking human being, with motives for his
deeds, gives the audience a new insight into his
character. They can understand him, even
feel a bit of sympathy for him, and the play is
lifted from the realm of mere puppets to a flesh-and-
blood creation of life itself."
Walter Long is one
of the pioneers among
the heavies. He
always exaggerates
the villain to bring a
laugh. These photos
show him as he is and
as Chang Fang in
"Eve's Leaves"
mere fact, for example,
that he was hated by dogs
and disliked by children
made him automatically a
scoundrel of the deepest
A New Era Has Dawned
A hearty second to these sentiments is voiced by
George Bancroft, whose Smiling Slade in "The
Pony Express" was one of the outstanding pioneer roles
in the new era of villainv.
"Not only
was the o 1 d-
time heavy a
lunatic," Ban-
croft told me
one day, "but
he was a strictly
type variety of
lunatic as well.
He was about
as original as a
derbv hat. The
dye. All of which is the hunk and truly false.
"In 'Devil Horses' my role of the hard-drinking, un-
couth bucko mate would have shattered every tradition
of the old-time heavy, because it happened to be both
human and true to life. The mate terrified the tiny girl
on shipboard in every one of his clumsy efforts to amiin
her, and she screamed in terror at his very approach
Yet it was that same mate who died laughing as he held
the natives at
hay for the few
precious sec-
onds needed to
save the life of
the rest of the
partv.
"t he old
screen tradition
of the "killer'
i Continued
page 90)
Walter Long has played all types of
heavies — and he makes them just a bit
too bad to be true. On the right is
George Bancroft, another character
actor who has humanized the scoun-
drel. He should perform wonders for
"Old Ironsides" as he did for "The
Pony Express"
JJii-hiv
57
Standing
PAT
PAT O'MALLEY gives
new proof of the inter-
esting fact that one of
the best indications of
man's real character is
found in the way he
wears a straw hat.
As a real indicator
of masculine charac-
ter, the humble hay
derby has the Herr
Freud and his little play-
mates looking like a bunch
of bungling amateurs. The
Panama hat serves as a suave
mask for its wearer, but the
stiff straw hat, with its rigid, un-
yielding lines and unbending de-
meanor, is a veritable sign-board of
character.
If worn wjth geometrical exactness on a
line paralleling the ground, and without so
much as tilting a millimeter either way, it is a reasonably
safe bet that its wearer also affects tortoise-shell glasses,
votes a straight party ticket, and regards three games of
chess as a really exciting evening.
If worn belligerently tilted forward over a brow, that
brow is very apt to be somewhat beetling, and its owner
is somewhat inclined to go into fistic action on rather
slight provocation.
But it is when the straw
hat is tilted to the side that it
really becomes most reveal-
58
with
O'MALLEY
ing. If it is slanted askew with a sort of half-ashamed
bravado, its owner is a four-flusher — he is trying to
assume a jauntiness that is really as far from his
nature as feathers from an eel.
But if the hat rests rakishly on one ear
and its jowner is sublimely unconscious of
the fact, then that gentleman is very apt to be
not only interesting and colorful, but mighty
good company, and the kind of citizen
upon whom you can safely rely in a pinch.
Irish Thru "and Thru
And that is the way that Pat O'Malley
wears his hat, starting just over his left
ear and proceeding on a steep slant
in a direction about north by north-
east ; and that is the kind of citizen
that Pat O'Malley is — blithe, care-
free, natural, generous to a fault,
friendly, and independent.
With a name like O'Malley, it
k should hardly be necessary to
'a add that Pat's eyes are Irish
Pk blue, that there is a tinge of
red in his hair and a hint
of freckles on his face and
hands, that his chin has
a solid and determined
look, and that Pat usually
gets just about what he
goes after.
An incident that occurred last
March 17 is typical of Pat
O'Malley. On that particular
morning a number of Pat's mas-
culine friends in Hollywood were
pleasantly surprised when the post-
man delivered to them small oblong
packages adorned with a weird stamp
which closer inspection revealed to be
the official postage emblem of Ireland.
Inside was a little card : "St. Pat-
rick's Day is Christmas for all good Irishmen. Hope you
like the pipe.— Pat."
The pipe in question was a small, exquisitely made brier
creation, especially manufactured for Pat by a famous
old pipe firm in Dublin, a chummy little pipe of the
kind that delights the soul of any normal man, whether
or not he happens to read the advertisements regarding
the unholy joy that great
„ ^ , , , , ., .... , actresses take in seeing men
Pat has played plumbers, pikers and politicians — and ... , , . ;* ,„.
all types of roles. At the top he is all set to get his w,th such adornments parked
man— in the role of a Northwest Mounted Policeman amid their classic features.
Freulich
o
They Called Him a Type
Actor, But Being Irish, He's
Showing 'Em How
By Ralph Sutter
Much has been written in recent years of
Pat ( I'Malley, the man, yet, strangely
enough, little has evet been said of Pat
< I'Malley, the artist This oversight seems
all the stranger when it is realized that
O'Malley is one of the foremost creative
workers in pictures
He's a "Rough Diamond"
i'MaLLBV first made a hit on the
screen in types Of the "diamond in
the rough" variety, playing the roles of
plumbers, Fast Side toughs, drummers,
and Tammany Hall henchmen, In the
language of the picture world, he was a
"natural" in such parts. He could have
continued them almost indefinitely, and
have built up an enormous fan following in
so doing.
But O'Malley had other ideas in mind.
He has an overwhelming dread of getting
in a rut. of establishing a type of screen
character as standardized as one of De-
troit's more famous products. Accordingly,
he proceeded to prove to the world in gen-
eral, and Hollywood in particular, that he
was capable of somewhat more ambitious
thing
In "My Old Dutch," he essayed one of
the most difficult character roles of recent
years, one that took a character almost
literally from young manhood to old age
and the grave, and did it superbly. Then,
to prove that this success was no fluke, he
took the part of the Grand Duke in Dimitri
Kreulich
Back in the good old days Pat was a
slack-wire performer. Here we find
him demonstrating his talent for the
benefit of Marion Mixon
Buchowetski's "The Midnight Sun "
This opened a gold-mine of material
for the Film Colony's wise-crackers,
the fact that a player with so Irish a
face as Pat O'Malley \s dared to essay
a heavy Russian role. One wit sug-
gested that Nazimova might next stage
a return to the screen in the title-role
of "Mother Machree." Pat let them
laugh. Dyeing his hair black and don-
ning a dark mustache, he proceeded to
play the exacting role of the Duke
Boris in a manner that won him the
plaudits of nearly every big film critic
in the country, even tho the picture it-
self was rated as far from a master-
piece.
While we were lunching together in
the big restaurant on the Universal lot
(Continued on page 87)
The O'Malley man leads a very happy home life. He
has three kids and they all have sandy hair like Pop
Pat. also finds time to pal around with his pups. Be-
tween the kids and the dogs he has no chance to
register loneliness
59
International Newsreel
When it comes to making up like Old Bill, Mabel Normand is
there forty ways. Back with Sennett, she will soon appear in a
war comedy, "One Hour Married"
Harrison Ford is making quite a reputation
as a light comedian. Here he is as the
hypochondriac in "The Nervous Wreck"
The Screen Observer
That Song Hit
ADAPTING that seductive song, "Valencia," to the
screen is a task that requires almost too much crea-
L tive effort in this hot weather. But Alice Duer
Miller is bravely undertaking it, for the sake of Mae
Murray. "Valencia" was so popular that Mae decided
she just" must have it for her next picture. Of course,
it will be a very Spanish story in which Mae can wear a
shawl and a rose in her teeth. Dimitri Buchowetski, the
Russian director, who has just returned from a trip to
Europe, will begin his Metro-Goldwyn contract with this
picture.
Wales Meets Connie
The film colony is proud that one of its members has
broken into the honest-to-goodness society columns.
There are reports from London that Constance Talmadge,
as the wife of Captain Alastair Mackintosh, has become
one of the most important of the younger hostesses there.
She has been there only a few weeks, but has already
lured the Prince of Wales to one of her interesting dinner
parties. In the fall, after she has completely dazzled
London society, she will return to make another picture
in Hollywood. "The Duchess of Buffalo," her latest
effort, has been lately released.
An Uplift Movement
■\X7hen the young people start reforming, it looks pretty
" * bad for vice and sin. Wickedness is not going to have
a chance to rear its head in Hollywood, now that the
Thalians have organized, fifty strong. The Thalians are
a club, composed of our youngest and purest film stars,
who want to keep clean and think they can fight temptation
better in groups than singly. All members must be un-
married, about twenty-one years old, identified with the
picture industry, and the possessors of spotless reputations.
Raymond Keane was elected president, of course—
60
being very young and very spotless and utterly devoted
to noble thoughts and good books and flowers. Jobyna
Ralston is vice-president, which probably makes the meet-
ings quite thrilling for Raymond. And the other officers
are Virginia Brown Faire, treasurer ; Joan Meredith,
secretary ; and Joan Crawford, corresponding secretary.
Charles Farrell, George Lewis, Cleve Moore (brother of
Colleen), and Lincoln Stedman are some of the other
members.
It is to be hoped that the Thalians will not only clean up
the younger generation of screen stars, but will also set a
good example to the youth of the nation. Try this in your
home town.
T.
A Sister Act
he Duncan Sisters, who became famous from coast to
coast in "Topsy and Eva," have been negotiating with
First National for weeks to appear in a screen version
of their show. And just when everyone thought the
contract was going to be signed. Hime and Jake got
capricious and decided to go to United Artists instead.
No contract has been signed yet, but they have agreed to
join United Artists thru Feature Productions, which
produces the Barrymore and Valentino pictures. John
Considine, Jr., who is president of Feature Productions,
will supervise "Topsy and Eva," scheduled to begin in
about eight weeks.
A Secret Marriage
Mo one suspected that Louise Fazenda was married until
they found out that she was going to be married again.
Louise is as clever off the screen as she is on, and cagey
as well, and even to her close friends her life is more or
less of a mystery. So it was quite a surprise to Hollywood
when she filed suit for divorce under the name of Louise
Smith, with the intention of marrying Hal Wallis as soon
as she was free. Hal Wallis is the head of Warner
Brothers' publicity department, and almost as nice as
John Barrymore is a skipper as well as an
actor. He recently competed in a Los Angeles
to Honolulu yacht race
Has Her
Louise, and his devotion to her wasn't much of a secret.
But nobody knew that Noel Smith, a director working
right under her nose on the Warner lot, was even casually
connected with Louise's past. Even he and Louise seemed
to forget that he was her husband.
While all this divorcing and remarrying is going on,
Louise wends her hilarious way thru picture after pic-
ture. Her latest role is a puritanical spinster in the First
National picture, "Ladies at Play.''
Ziegfeld Loses Another
Cvkrv week there has been a new candidate for the
^ ingenue role in Adolphe Menjou's picture, "The Ace
of Cads." Even after production had got under way.
no one was quite sure whether Lois Moran. or perhaps
Clara Bow. would get the part. Well, it's settled at last.
Susan Fleming, a graduate of the Ziegfeld chorus, is the
lucky lady. She has plenty of pulchritude but no acting
experience, but Mr. Menjou seems to have great con-
fidence in her. He personally picked her from a group of
Ziegfeld beauties who visited the studio, and he confided
to me that she is refined as well as beautiful. And as that
is an even rarer quality than acting ability, she was signed
up at once.
Is Jackie Becoming Temperamental?
Tackie Coogan is having almost as much trouble with
^ his directors as Gloria Swanson had on "Fine
Manners." Three men have taken turns wielding Jackie's
megaphone, and several thousand feet of film have been
shot and thrown away as a result of the changes. King
Baggot started out to make "Johnny Get Your Hair Cut,"
but was scheduled for another picture and had to retire
in favor of Millard Webb.
Mr. Webb is one of the youngest directors in the busi-
ness, and made a great success of "The Sea Beast" for
John Barrymore. Just what happened on the Coogan set
is not quite clear, but Jack Coogan, Sr., won the battle,
Lewis Stone doesn't take a back seat as a romancer. He
is the great lover to Shirley Mason and others in "Don
Juan's Three Nights"
By
Elizabeth Greer
whatever it was. Mr. Webb is out, and production is begin-
ning all over again under the direction of Archie Mayo
Back With Uncle Tom
LJarry Pollard has at last recovered from the illness
which held up the production of "Uncle Tom's Cabin"
for many months. Universal had despaired of his re-
covery and had assigned Lois Weber to finish the picture,
when Pollard unexpectedly got better, and he is now back
on the job. That leaves Miss Weber free to start work
on "Egypt," an adaptation of Ernest Pascal's novel, which
will be retitled "The Sensation Seekers."
The Final Fade-Out
The career of Willard Louis was ended, late in July,
when he died of typhoid-pneumonia after a long illness.
Mr. Louis had been in pictures for twelve years, and was
forty years old, but he was just at the height of his
popularity as a comedian. Since his performance as The
I'ri>ice of Wales in John Barrymore's production. "Beau
Brummel," brought him into prominence several years ago.
he has been playing steadily and jovially in a great variety
of pictures for Warner Brothers, to whom he was under
contract, and various other companies. His last picture.
"The Door Mat," has not yet been released.
And So It Goes
The final decree divorcing King and Florence Yidor has
been granted, giving them a chance to marry, respec-
tively, Eleanor Boardman and George Fitzmaurice. if they
so desire. We will soon know the truth of all the lively
rumors that have been going on ever since Florence took
the plunge and sued King on the grounds of desertion.
Mary Astor has disqualified herself for membership in
1 * the Thalians Club. Be it known that Mary easily
meets all the requirements except one. for she has long
{Continued on page -87)
61
PAGING
MR.
RinglinG
Hold your horses,
park your autos. and
dont crowd. Here comes
"The Circus" and Charlie
Chaplin, the world's
greatest clown
Circuses come and go. The
soul of America is the soul
of the sawdust and the big
top. When the big show
goes into winter quarters
the summer season is over,
but it's always balmy
weather when Charlie
Chaplin comes to town.
"The Circus," his newest
achievement, should turn
'em away. "Allez Oop" —
and keep in line
62
.
Ruth Harriet Louise
CHARLES RAY
Up there on that bright-colored fire cart where men wear helmets and red suspenders
Charlie Ray will do his stuff in "The Fire Brigade." We bet a fireman's badge against
a hook and ladder truck that he saves the GIRL from perishing in the flames
63
The Answer
Man
Betsy. — School clays are on again.
Why, Douglas Fairbanks, Jr., is
about nineteen years old and Sally
O'Neill about eighteen. Thomas
Meighan was born April 9, 1884.
Justine M. S. — Well, now, I
know a few things, but I dont hap-
pen to know just when Richard Dix
will be in Little Rock, Arkansas.
He was born July 18, 1894. You
want to know if I think a girl thirteen would have a chance to
get into the movies. A very slim one.
Max E. — Kenneth Harlan is playing opposite Colleen Moore
in "Twinkletoes." When is money damp? When it is due in the
morning and missed at night. It's not only damp, but always
scarce with me.
Ruth de O. — Oh, you always want to enclose twenty-five cents
in two-cent stamps when asking for a photograph. Bessie Love is
playing in "Going Crooked" for Fox, and Edmund Burns and
Anita Stewart in "Whispering Wires" for Fox.
Sacks. — Thank you, but a man who makes no mistakes does not
usually make anything. William Russell. Virginia B. Faire and
Reed Howes in "Wings of the Storm" for Fox.
Marion A. — No, I have never been in an aeroplane. I guess
my species likes to have all fours on the ground. You say, "An
authority on words holds that an airplane should always be re-
ferred to -as she." Does this also apply to mail planes ? Richard
Dix's real name is Ernest Brimmer. Thanks for the picture you
drew of me.
Martha U. K. — Speaking of women generally, they are gen-
erally speaking. Why, William Boyd was born in 1898. Agnes
Ay res was born in Carbondale, Illinois, April 4, 1901.
Classic Crazy. — William Boyd is playing in "Her Man o'
War," with Jetta Goudal. Florence Vidor is playing in "Wings,"
with Clara Bow and Charles Emmett Mack. Yes, just write to me
any time you feel like it.
Mary C. — You refer to Tullio Carminati.
Mollyka. — No, I haven't read "The Man Nobody Knows," but
you think H. B. Warner would be splendid in it. Warner Baxter
in "The Runway," with Clara Bow.
Bobby. — You say you have red hair and brown eyes — seventeen.
I have no hair, blue eyes, and am past eighty. Are we sufficiently
acquainted? Yes, Clive Brook is married and has a daughter,
Faith.
A George O'Brien Admirer. — Well, you are going to see an-
other von Stroheim picture, "The Wedding March," and Fay
Wray is to play the lead. Von Stroheim will also play in it, as
well as Zasu Pitts, George Fawcett and Maude George. George
O'Brien attended Santa Clara College in California, and he has
blue eyes. "The Iron Horse" was released September, 1924.
Millie U. — Yes, go ahead, write to me any time you feel like it.
Yes, of course I'm eighty years old. Conway Tearle is married to
Adele Rowland.
Bobbie. — Well, that's hard telling whether you will see Roscoe
Arbuckle in pictures again. He's directing now. Greta Nissen
and Clive Brook are playing in Malcolm St. Clair's "The Popular
Sin."
Willie. — I should say I do drink plenty of buttermilk in this
warm weather. That's a wonderful trip you have planned. You
know, in India, 3,263 people were killed by wild animals last year.
Snake bites were responsible for the deaths of 20,000. Well, they
do say that Jobyna Ralston is to marry Richard Arlen, and that
Ena Gregory is to marry Al Rogers, a director.
Beverly J.— Where did you get the green paper? No. Clara
Bow is not married. She was born August 8, 1905. Donald
64
THE ANSWER MAN is at your service. If you
want an answer by mail, enclose a stamped addressed
envelope. If you wish the answer to appear in THE
CLASSIC, write at the top of your letter the name
you want printed, and at the bottom your full name
and address. Address : The Answer Man, Motion
Picture Classic, 175 Dufneld Street, Brooklyn, N. Y.
Keith is twenty -three years old.
• Red Grange's "The Half Back" is
to be released as "One Minute to
Play."
Bertha P. — Well, you ask a
question, then answer it yourself.
There are two things that indicate
a weak mind — to be silent when it
is proper to speak, and to speak
when it is proper to be silent. Mil-
dred Harris is to play opposite Rod La Rocque in "Cruise of the
Jasper B."
Irene R. — You sure are a film fan. Well, you know Mabel Nor-
mand was known as Mabel Fortesque when she was with Biograph
in 1911. She is playing in Hal Roach comedies right now. Your
letter was most interesting, and I hope you write me soon again.
Betty B. — Dont be so impatient. Hasty climbers usually have
sudden falls. So you are fond of Ramon Novarro. He was born
September 20, 1899, at Durango, Mexico. No, Mr. Novarro does
not go to all the parties, dances and affairs in Hollywood. He
rather likes his home.
Evelyn M. — Why, Ben Lyon was born in Atlanta. Georgia.
That is his real name. Alberta Vaughn is playing in "The
Adorable Deceiver." Billy Sullivan in "Speed Crazed."
Bonya. — You're right ; clothes dont make the man, but they
make the impression. Colleen Moore is five feet four inches and is
married to John McCormick. No, they have no children, and she
was born August 9, 1902. Why, James Hall is a newcomer to the
screen, and he has an important part in Bebe Daniels' "The
Campus Flirt," also the male lead in Pola's "Hotel Imperial."
Eleanor F. — So you think I am a good listener. You'd be
surprised. A bird is known by its notes, and a man by his talk.
William Boyd has blue eyes and light hair. He certainly is get-
ting enough mention in this department.
Stanley H. — Well, it's too late to have my beard shaved now —
next December I will have good use for it. You say, after seeing
"The Plastic Age" and "Brown of Harvard," you would like to
go to college. Why dont you?
Elizabeth M. — Well, do all you can to be good, and you'll be
so. Rudolph Valentino was born May 6, 1895. Hobart Bosworth
is about sixty years young, and his birthday was August 11. He
is a descendant of Miles Standish.
Grace K. — You only want the home addresses of about fifteen
players. That's out !
Mitzi. — What is the most dangerous time of the year to visit
the country? When the bull-rushes out, and the cow-slips about,
and the little sprigs are shooting all around. Irene Rich did not
have her hair bobbed — she wore a wig in "Lady Windermere's
Fan." You thuik Corinne Griffith is the most beautiful actress
on the screen. She is very popular. You think I could get a
large salary if I came to Kentucky. All right, that's a go.
Elsie McN. — Hoot Gibson is with Universal, Universal City,
California, and Harrison Ford is at the Metropolitan Studio, 1040
Las Palmas Avenue, Los Angeles, California.
O. G. — Well, if a dime with a hole in it is worth five cents, a
dime with two holes in it ought to be worth ten. cents. Right?
Lewis Stone is playing in "Midnight Lovers." Virginia Valli was
married to George Lamson.
Palma M. — You want to know if I thought it would be a good
thing for you to become an actress. Well, now, that is a broad
question, in view of the fact that I have never met you. My
advice would be for you to stay in school a little longer. Adolphe
Menjou in "The Angel Passes." Estelle Taylor is to play opposite
Valentino in the life of Cellini. John Gilbert was born July 10, 1895,
(Continued on page 81)
Them Were the Happy Days
Norma and her lister were both trying lot
icreen honor! in those bapp) days
Watching John Bunnj nightlj on the
screens of rlatbush, .1 Brooklyn undci
taker ol Munl.it huge proportions, (eh the
ur^r to ad before the camera He wai
the Vhagraph extra whose sue dominated
ever] acene in which he appeared His
name wai Hughie Mack, It -till it, ex
cepi that todaj be
boras the foreground
when he "does his
stuff "
I remember also
watching with inter-
est the work of a
trimly clothed, dap-
per young man se-
lected by Wall) Van
to a dance bit in a
Vhagraph film, "The
Man Behind the
Door." His poise
was perfect and his
work won for him
a small part in "The
Scarlet Runner," a
serial which Van
later made. The
dapper young man's
name was Adolphe
Menjou.
The Favorites of
Yesteryear
I have stood in the
huge courtyard
which served for the
location of many-
kinds of exterior
scenes for Vitagraph
productions, listen-
ing patiently while
actor poured forth
talent on the screen wlmli p|o\cd I .u nnic
lucrative to those who followed him
than it dul to "the first DOJ ol the Idms."
Little Money, But Lots of Fun
TPhi old saying "we dont make much
money but we have a lot of tun" .i|>
plied to the actori and directors of 1910
1 1 memorj serves, the celebrated John
This building at Sunset Boulevard and Gower Street, Holly
over from the Salvation Army by David Horsley, who used
make his fir»t motion picture
wood, was taken
it as a studio to
a well-known stage
his lament. "Why
wouldn't they give him a chance? Why
didn't they let him act or direct? Hadn't
he appeared in leading roles of Broad-
way successes ? Wasn't he a recognized
exponent of the Shakespearian drama?
His wife was a member of the Vitagraph
stock company — what was wrong with
him? The complainer was James Young,
the same James Young who afterwards
scored as an actor and director for Vita-
graph and other leading companies. His
wife was Clara Kimball Young. Yes, them
were the happy days. In this same court-
yard I have watched Florence Turner,
greatest star of her day, paying off extra
players.
To the Vitagraph of the misty past be-
longs the distinction of having introduced
the first "vamp" of the screen. Long be-
fore Theda Bara essayed her "bad, bad
woman" parts, Helen Gardner had estab-
lished a new type of screen role thru her
sirenic efforts as Cleopatra and other
characters with a vampish tinge. To the
credit of this company also must be
chalked up the first presentation of the
appealing "mother" character, a character
which has played an important part in the
success of many later day important pro-
ductions and the introduction of a child
player as the leading figure of a picture
play.
Them were the happy days indeed when
the benevolent white-haired person of
sweet-faced Mary Maurice, the Vitagraph
mother, held the screen in stories of
honest, homely sentiment — when the pre-
cursor of Jackie Coogan, little Kenneth
Casey, one of the best known and widely
admired figures of the silversheet, opened
up a field for the exploitation of juvenile
Bunny began his movie career at $40 per
week and at the height of his career, when
death cut short his brilliant comedy
achievements, he was receiving $500 per
week. Nowadays, this salary is regarded
as a nominal one in the movies and is
received by countless of the lesser lights
whose names mean little or nothing at the
box-office.
Those bulwarks of the Vitagraoh pro-
gram, Maurice Costello and Florence
Turner, who with Bunny helped to estab-
lish the fortune which Vitagraph produc-
tions earned for Blackton, Rock and
Smith thru their countless performances,
received correspondingly slim pay envel-
opes for their efforts. This same trio
today would be in the earning class of a
Chaplin, a Meighan and a Pickford.
Supplying the "side line" music for
these stars of other days was a slight,
blond-haired boy who, in between turns
at playing his fiddle, did small acting bits
in innumerable pictures. His brother was
one of the first if not the first "stunt men"
in studio work, doubling for the players
who appeared in the various epics of the
West which Vitagraph turned out in
"Arizona," a peaceful Flatbush location.
The musician-extra was Dick Rosson.
who recently completed the direction of
Gloria Swanson's latest picture. The
stunt man, his brother Arthur, has to his
credit the direction of Douglas Fairbanks
and several other top-notchers in the
stars' league.
They All Made Good
"Them were the happy days indeed when
Ralph Ince, elevated to the post of
director, decided that a young player
known as Rex Hitchkock was not compe-
tent enough to interpret the insignificant
..ink 1 I- 1 k in ( IN ol I
i s I be pulled him
i-li togethei lumcentl) later ■'! to turn
out such m.i terpii "The ;
Horsemen" and Mart istrum" under
the name ol Rex Ingrai
No chrome It dealing
with Vitagraph would be complete with
out reference to Fred "Bing" Thoraj
the first director to
introduce the pre
well-known element
• mperament" in
the work of movie
production. Thomp-
son, who has since
passed on. and inci-
dentalK . wai the
first man to use
wild animals in pho-
toplays, was quickly
irritated when things
did not run smoothly
under the lights. He
had a penchant for
breaking derby hats,
one of which was
always perched on
his head. The num-
ber of broken der-
bies at the end of a
two-reeler under
'3 direction was
indicative of the
Sti Tin or calm which
accompanied its
making.
In these days of
sumptuously fur-
nished players'
dressing-rooms and
specially built bun-
galows for the use of high-salaried stars
in preparing for their studio appearances,
it is amusing to learn that three such big-
timers of the old days as John Bunny,
Sidney Drew and Wally Van, comedy aces
of the pre-Chaplin era, all shared the same
small room together.
In any story of the old days the name
of Van looms large. A well-known civil
engineer of New York, he was induced
to take a fling at film work by J. Stuart
Blackton, with whom he was socially in-
timate. The horrible appellation of "Cutie"
wished on Van at the height of his comedy
career had its full share in spoiling a
promising future. It was this same Van
who was responsible for the introduction
of Mrs. Sidney Drew to the films. Under
the name of Jane Morrow she received
considerable extra work thru Van's good
offices until Vitagraph officials saw the
possibilities of the Drews as the most
delightful pair of comedians that ever
shook an audience into whole-souled
laughter.
Stories Were Cheap
\Y/hen we read today of the trifling
sums paid for the rights to various
plays and novels, ranging from $5,000 to
$100,000, according to the gullibility of
the producer-purchaser, and the insis-
tence of the star that the particular play
or novel be secured for the exploitation of
his or her screen talents, it is illuminating
to consider the manner in which scenario
requirements were handled in the old days.
Under the direction of one of the in-
dustry's first scenario editors. Beta Brueil.
assisted by Rollin Sturgeon and Hal Reid.
father of Wally, story' after storv was
purchased for sums ranging from $5.00 to
(Continued on page 86)
65
PAINTED PEOPLE
mothers that it would be just as well to
keep us away from you."
Her grandmother had done that ! Her
Grandmother Rogers with her little blue,
drawn thread of a mouth !
The little scimped ways of them all.
Scimped and mean like her grandmother's
mouth, always shut so tightly as tho she
were biting back acid words she wanted
to say, wanted to say to Jonquil.
The gossip that went on among
the old ladies ; cruel gossip that
flayed soft pretty young things
and hurt and stung like whip
lashes. That young minister who
had taken over the Congregational
Church. Earnest eyes he had had
and a flame in his voice ... he
had taken tea with young and
pretty Mrs. Fielder in her rose
garden one afternoon too many
. . . Jonquil never quite knew how
it all happened, but she got the
stench of dark unhappy things in
an undercurrent and then the
young flame-like man was gone
and pretty little Mrs. Fielder went
about with a bewildered expres-
sion on her child-like face and a
streak of gray across her hair
and people said that her husband
had used to be kind and tender to
her but that now he misused her
and made her unhappy. . . .
The unkindnesses ... the thin,
lash-like unkindnesses. . . .
Once, once only she had dared
to ask her grandmother why the
girls in town treated her as they
did . . . what was the matter with
her . . . what it was all about. . . .
Jonquil never ceased to think
that what her grandmother said
was horrible. It wasn't so much
that she condemned her, that she
told her her life had ruined her
for "nice" people, that she was a
stage child and had lived "Dear
knew" what kind of a life and
that decent folk have to be par-
ticular about the kind of girls
their girls go with . . . she could
have forgiven her all that. It was
the way she talked about Jonquil's mother.
About her own daughter. About the girl
who had been her little girl, bone of her
bone, flesh of her flesh, suckled at her
breast. It was the cruel bitter things she
said about her. It was the way she took
that dead memory and stained it and
maimed it.
Sad years.
Solitary. After a time Jonquil ceased
to think much about it, came to accept it.
She reached the point when, on rare oc-
casions, some girl, some compassionate
warm woman, did make some friendly
overture to her, she drew away, resented
it. She was afraid of it. She was afraid
of hurt.
She just knew that she was- solitary.
That she was a misfit. She went solitary
to school and she came solitary home.
She helped with the spring cleaning, the
mending, the canning and pickling, the
general sewing, whatever happened to be
in process of work. And there was al-
ways something. There was never leisure,
never dalliance.
After awhile they didn't hurt any more,
the pin-pricks. After a time they lost
their power.
(Continued from page 33)
She noticed that her Grandmother's
nose and mouth seemed to be bending over
to meet one another ; she thought,
amusedjy, that she looked rather like the
pictures of the Witch of Endor . . . maybe
she was. . . .
She thought, now and again, of the
things she had planned to do when she
had first come to Three Trees. The
Jonquil never ceased to think that what her grand-
mother said was horrible. She talked so bitterly
about her own daughter
splendid games she would teach to some
of the girls she would particularly like
. . . most little girls, she found, didn't
imagine many things . . . they played
such gummy little games . . . but she
would teach them to imagine and they
would see that she was really a very
splendid sort of person . . . they would
see what she really was and would tell
their mothers and their mothers would
say to Grandmother Rogers, "What an
unusual child ... a darling ... I love
to have my little girl play with her, she
thinks such beautiful thoughts. . . ."
Once, passionately, Jonquil had told her
Grandmother that she knew she would
never "get away from it" and her Grand-
mother had got out the Bible and had
read her about "the sins of the fathers"
until Jonquil had cringed in reluctant
terror.
After all, Lillian de Vere had loved her
little girl . . . she had seized her and
held her against her cheaply perfumed
breast and there had been the warm blood
feel of a heart throbbing there . . . she
had wanted her to be happy, forlornly, but
really and passionately . . . and they
hadn't had threads for mouths, those
grease-painty people back-stage . . . they
had wept generously over their erring
dead and they had forgiven their erring
living with shrugs of the shoulders and
an "Oh, well . . . poor chap . . ."
But of course she hated them. They
had marked her so that "nice" girls and
their mothers drew aside their skirts and
wouldn't speak to her unless it might be
to say "Gooday, Jonquil, how is your poor
Gran'ma?" It was always as if they
pitied Grandmother because of her.
It was as if they hated her.
Funny.
On the stage they hadn't hated
her. That much was certain.
That had seemed, then, to be the
trouble. They had loved her in
their slobbery fashions. Ugh.
Like that character woman who
was forever kissing her hotly all
over her face as if she had never
kissed a little girl before and was
trying to get all the times she had
missed into that one time.
Of course, now, the nice girls
would never know how she had
wanted a front porch and a nice,
thin-lipped Grandma — and them.
No, when she cared so dread-
fully, during the time she cared so
much, when the pin pricks drew
little drops of blood, she wouldn't
have told them.
And then, later on, she didn't
care, any more. It was all too
much trouble. It was easier to
go home, slip into her own room
on the pretext of home-work, slip
off her stiff prissy clothes, slip
into a wrapper, stretch across the
bed reading the fiction stories in
the old magazines Elijah's wife
gave her from time to time.
Love stories. There was a door
... a channel . . . love might come
some day . . . slip in one of the
narrow crevices of her life . . .
set her free . . . ring out her
laughter ... fill her with roses
and sunshine. In lots of the
stories love came in the most im-
probable places, to the most im-
probable people. There was even
a saying . . . something about love
laughing at bolts and bars. ... If love
came, how supreme it would make her,
how triumphant she could be. . . .
But she was growing prettier. She
knew that. Even she could see the gentle
rhythm, the soft poetry of her own round-
ing breasts and lilting thighs. Her hair
was amber colored, too, with the hue of
dark honey . . . her skin was soft and in
the twilight her face drifted like a flower's
face . : . her mouth was clean-cut by day
but in the evening it became a soft blur
... a promise. . . .
When Jonquil was seventeen, all • of
Three Trees had narrowed and com-
pressed to her vision. It was as if it had
shrivelled and shrunk. Funny, but when
she walked down the shaded streets she
seemed to be walking down prickly,
sharp-pronged aisles that closed in upon
her at either side, hideously.
Oh, how could love find an entering
wedge here . . . here where no sap flowed
. . . where no blood ran . . . where people
were pale and chalky and streets were
narrow and hurt you. . . .
But love did get a foothold ... in the
spring. . . .
(End of Part Tzvo)
66
More Inside Facts About the Extra
MUIwd These frail, pitiful last dying in
ItitUtlOIM probably t urm-h keen amuse
incut fa the Great Po«
jungle Rea rn.i\ tano) •"> elephant I
time! But the aim oi these little clubi
ood, The policj ia pureh clvi< and
so-called communirj welfare wort
among motion picture people. But then
onh aim in the end li to lecure work foi
then members, regardless of what ii nid
to the contrary. Bui It ia thought that the
ta of such dubs, in tome
Instances, is so much apple
dumpling to the producera whose
troubles exceed in a minute ten .
times that of an actor in a week.
As ■ matter of fact, the pro V - '..
ducer is the maker, the creator X-,
of The Central Casting Bureau,
and. no doubt these same pro-
ducers grew damn sick and tired
of the rumpus constantly being excavated
by groups of radical extras. 1 know, I am
one of them.
But Few Are Chosen
Mow comes the great joke!
iy When Old Screen Service was laid
away in rosemary and The Central Cast-
ing Bureau made its first move in its
cradle, what had happened? The same
man and officers of the former Screen
Service are now the Big Guns of The
Central. Laugh that down. And the
names ! names ! and files went along
with the rest of the outfit. When you
go to a studio for work, you are
generally but firmly referred to The
Central; when you go to The Central,
you are assuredly and roughly and
crudely told to go to the studio and
get your papers — a letter stating that
that certain studio wishes you to work
for it. Try and get it! Do they
kid themselves?
There are exceptions to the rule, many-
get work as of old, but they are well
known and have been "regulars" for a
long time. And of course, when a great
boiling mob is used, there are generally
the same number who form another line
which is called "Spec I" Meaning those
who go on speculation, hoping that most
all the people who are on regular call
will not be there to get their tickets or
checks. It is funny, too, most every
"spec" believes that he will get a job, get
another's ticket, he likes to kid himself.
The system for getting work now is
all done by the telephone. You call into
the offirce and give your name ! name ! and
the operator repeats it to the long line of
casting directors. If you are properly
registered and have good standing in all
ways, then, you may get a job. But most
of the time it is, "Nothing in yet !" Some-
times it is "Line's busy !" It is stated
that an average of over six thousand
(6,000) calls go into The Central Office
daily. Can you imagine the magnitude,
the problems and difficulties arising under
and over such sad conditions ?
To the person planning a picture
career via the extra train, I would say
that it is almost impossible to become
registered at The Central Office, where the
greater part of work is obtained. In fact,
a registration may be had, but that does
not give you work — you can be killed in
the files ! '
This is not because officials want it that
way. or because it is their choice. But
it is purely a matter of statistical, busi-
ness necessity. It is said that if every
person worked in pictures who is regis-
fOQ4 23 )
tcred. or who desires t,, WOrlt, then, therr
WOUld he less tli.in tttlv QOllari ($ I
made annually pet i.ipita. And ti
is that the desirable list o( people, those
who are le.illv depending on picturei l"'
a living, must Ik- assorted and fiver the
to
those who
constituted and
equipped to till
most any demand
made in picture
uork.
A
D
This young girl
is disillusioned.
She forgot to
remember
And Still They Come
espite all this, the fifty thousand folk
still march on to nowhere, over this
road or under that bridge — bridge of
sighs ! And each trial, each effort to
break thru, only inspires those behind the ■
scenes (the powers that are) to fasten
more securely the doors that lead to fame
and future and fortune ; to shut more
coldly the gates wherein the world seems
bent upon seeking — the studio. No doubt
if studio gates were thrown open to the
public, it would take o»e half the world to
escort the other half "around the lots and
sets, the studio ground with its quaint-
looking, half-shelled outbuildings and
ruins. I believe all progress would cease.
Not long ago, near Washington Boule-
vard, just inside a certain studio fence,
there were some scenes to be made —
"shot." This set could be seen clearly
from the boulevard. Would you believe
that in less than an hour about one thou-
sand automobiles had stopped, and. people
were going mob-mad to get a peep? The
police were called to clear the traffic
which was piling up like a foreign debt.
Just one thimbleful of human ants!
But back to the other truths again.
Perhaps much could be said about the
present system of casting people for pic-
tures, extra talent, I mean. Some people
would never be pleased with anything, any
n "i device Hut I must u
in pfa tures . tlir n
all the help it needs and that mil' h
And it V'ii . are • that
.kIvkc, do not t"tget that • told
not to t' ■ member.
They Forget to Remember
I to await
the new angle oi I he itral
Bureau. It is only a be
\\ ith proper nursing and kidding it may
grow Up and prove a wonderful thing.
So far, the organization has d<
good. The officials arc trying hard to do
their best. And if it is a bad thing, an
improper way to handle the future situa-
tion, only strict and rigid enforcement of
that present method will either elim-
inate it or keep it in force. But it
might be said that if The Great
Central Office is ever discontinued,
then, many, many agents will enter
the business of getting jobs for
extra talent. Yes, they'll probably
hang a sign on their doors reading
something like this : "We guarantee
you a job when you register with
us! If we fail to get a job for you
— we'll pay one thousand dollars!"
It sounds good, but sound is all. In
the old days, however, Screen Ser-
vice was the ruling monarch in get-
ting work for extra talent. It was
a power. It will never be that
power again.
Indeed, it is highly improbable
that The Central Office will be dis-
continued. And if it were, there
would be castes, clubs and "so-
cieties" which would turn the extra
talent forces into a red revolution,
ves, even more so than they are now.
And this is the TRUTH.
Nothing But the Truth
""The Brewster Publications are, of
course, world-renowned for their
policy of strictly and rigidly following
the roads of Truth. And there is a cer-
tain trade journal published in the vicinity
of Hollywood which also has the same
policy. And not very long ago this trade
journal published an editorial which
struck the "extra" squarely in the guts.
It is so truthful, so good, therefore it ia
necessary to quote it. As follows :
"THE QUITTER"
"A piece of news has just reached us
to the effect that an 'extra' is quitting the
movies. This fact in itself is insignifi-
cant, since many extras starve out daily
and sink back into that oblivion from
which they sprung. But behind this sur-
render lurks a story, a story which em-
bodies a moral for every' boy and girl
entering the game.
"The extra mentioned typifies the high-
est standard of American manhood. He
is an upstanding, two-fisted chap in the
prime of youth ; one who followed his
own barrage into the jaw of hell upon
the firing line ; he is a graduate of our
best universities, a student of law, a legit-
imate actor and a journalist of merit. A
year ago he joined the ranks of extras,
being told that picture producers were
ever on the lookout for talent and ability
— that the man on the bridge could de-
tect a mile away the periscope of genius.
'Well ! He joined the movie ranks,
has spent a year weltering and poking up
his periscope. Now, he is quitting. Not
(Continued on page 73)
67
HOLLYWOOD'S UNION JACK CLUB
George K. Arthur
a lightweight. At the same time it can
be said of Pauline Garon and Marie Pre-
vost (Canada), Eileen Percy (Ireland)
and Flora le Breton (England), that they
rarely fail to come up to the scratch.
Scions of the Empire
In addition to Mary Pickford, most fa-
mous daughter of the historic family of
Smiths, Canada sponsored the birth of
Norma Shearer and Claire Adams ; while
Australia, not content with its mustach-
ioed masterpiece, Marc McDermott, free-
handedly threw in Louise Lovely and
Enid Bennett. England's quota, in addi-
tion to those whose names have been men-
tioned, includes players of every con-
ceivable type, notably Charlie Chaplin,
George K Arthur. Henrv Vibart. Flora
Finch, Gibson Gowland, the late David
Powell, the brothers Torrence, and Doro-
thy_ Mackaill.
Charlie, ot course, received the best
education in the world — in the tough
school of life — but most of the British-
born stars prefer to keep the secret of
where they picked up the ABC and any
other smatterings of knowledge they may
have acquired. Only four confess to an
education at the great English Public
Schools, which as everybody knows are
so-called owing to the exclusive and
aristocratic nature of their clientele. The
four are Alec Francis (Uppingham
School), Cyril Chadwick (Brighton Col-
(Continued from page 39)
lege), Wyndham Standing (St. Paul's,
London) and Ralph Forbes (Denstone).
And with these carefully nurtured beings
we can write "finis" to the long tale of
Hollywood's Union Jack Club.
Their Early Vicissitudes
IWJost of the British picture players in
1 Hollywood are now generally re-
garded as thoroly successful people, but
some interesting stories could be told of
the years many of them spent in their
native land, struggling for the recogni-
tion that would not come, England, which
has provided far more stars and featured
players of Hollywood than any other
country except America, easily takes bot-
torn, place among all the nations for abil-
ity to pick the winners. For years the
British film industry, which has nev#r
Victor McLaglen
Ronald Colman
flourished since the war, has been trying
to lay the blame for its failure on the
lack of stars. In actual fact the number
of Britishers who have succeeded in
America points to there being more star
material in proportion to the population
of England than to that of any other
country.
Thomas Meighan, who for years has
ranked among the highest-paid stars in
the world, spent his early days walking
on and playing bits in the west end of
London. But no manager ever took any
notice of him, so he gave up trying to es-
tablish himself in England and came to
New York, where he made good. Ronald
Colman is another who strove in vain for
a chance in London, until Henry King
chose him to play in "The White Sister"
in Italy, when he immediately scored a
hit with the American public.
Another similar case is Percy Marmont,
who, with a style all his own, has found
his services in constant demand since he
became known in Hollywood. Altho he
did much valuable work in connection
with repertory theaters in England, he
never met with any degree of financial
success. Finally, in desperation to earn
some money, he came to New York to try
his luck.
There, however, he still found fortune
unfavorable for some months. He could
get no work, but succeeded in arousing
the interest of Small, the casting agent,
whose faith in him was so great that he
paid his fare to Hollywood. Marmont
was chosen to play Mark Sabre in "If
Winter Comes," and he returned to Eng-
David Torrence
land to make some scenes for this pic-
ture, having developed in a few month.*-
from an unknown repertory actor to a
miniature star.
Stars of Two Countries
TThe story of these men is the story of
many another Englishman who has
found success here after years of vain
attempts in his own country. Tho it is a
highly difficult task to obtain recognition
in this country on stage or screen, it is a
hundred times as difficult in London,
where impresarios are, as a rule, constitu-
tionally opposed to taking a gamble on a
new discovery.
On the other hand, in a few cases Eng-
lish players, who have migrated to Holly-
wood, were already well known and suc-
cessful in England. Clive Brook, for
instance, was probably the most popular
male star in England two or three years
ago. Originally intended for the army,
he succumbed to the lure of movie acting
and has never met with any serious re-
verses in his chosen career. He played
leading roles in England for years, but
never faltered in his determination to
come to America as soon as an opportu-
nity presented itself. In his unhindered
progress he bears comparison with his
namesake of the famous Tennysonian
poem.
Fortune was on his side, for he was
chosen to play opposite Betty Compson
in the big British picture, "Woman to
Woman," and on the strength of his per-
( Continued on fane 85)
Clive Brook
68
UNKNOWN BEAUTY
Thr Girl Who
Livet Ntxt Door
You do not know her name. She ii
not ItnouTi to fame. Yet thousands
as lovely as she — grace the homo
of America. For this is the land of
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CHARMED LIVES and RECKLESS
unusual happening in their locality. They
do not receive a regular salary, but in-
stead they are paid space rates — so much
per word or per column of space they fill.
Newsreels are similarly organized.
They have their regulars, their district
men, and their "correspondents," the latter
paid by the foot only for pictures which
are used. Main offices are in New York,
but there are branch offices, with regular
local staffs in Chicago, Philadelphia, San
Francisco, St. Louis and other large cities.
In the important centers of Europe, offices
are also maintained.
In the foreign offices, natives are em-
ployed, tho an American is usually in
charge to receive
directions from the
central office. Thus
in China, Chinese
cameramen are em-
ployed ; in Rome,
Romans are used,
because a native,
knowing his own
country best, is al-
ways awake to any
novelty that might
appeal to the dis-
criminating tastes
of film goers.
(Continued from page 21)
The precious film, after it was sent
by plane from Kona to Honolulu, was
placed aboard the steamer Matsonia
for San Francisco. The prints were
made there from one of the negatives
for distribution on the Pacific Coast while
the other was placed aboard an airplane
and flown to the International studio in
New York.
Early in his career a newsreel photog-
rapher is impressed with two important
facts, one, that he must get his picture,
and secondly, that he must rush the nega-
tive back with all possible speed. I com-
pared the organization of the newsreel
with that of the newspaper, but there the
Speed and Ac-
curacy Are the
Watchwords
"The pictures of
the eruption of
Mauna Loa, the
Hawaiian volcano,
are a striking ex-
ample of what this
remarkable organi-
z a t i o n accom-
plishes. When
Mauna Loa first
began to rumble,
the International
Newsreel cabled its
co rrespondents,
Walter J. Tomi-
naga and John F. v
Stone in Honolulu,
and Frank K. Cody in Hilo, to proceed to
the island, more than three hundred miles
away, where the volcano is located. But
it was several days before the eruption
took place. Meanwhile, the New York
office had arranged for a seaplane to go
from Honolulu to Hilo on the Island of
Hawaii whence it afterward flew over-
land to Kona, across 'the Island.
There Jiave been few sights more im-
pressive in pictures than the view of
Mauna Loa in action, a mountain more
than thirteen thousand feet high, its top
torn away and clouds of dense smoke and
flame rising from its peak. As the great
flaming river of lava, some three miles
wide and one hundred feet high, rolled over
the mountain side, inhabitants fled before
it, and whole towns were wiped out.
But the news cameramen pushed closer
up the mountainside down which the lava
poured. At Hoopuloa they stopped to
photograph the mighty spectacle. At one
point the lava stream, more than forty
feet high, advanced with such rapidity
that the men were forced to flee for their
lives and tho they all escaped death, one
man was severely burned. A convincing
proof of the grimness of the scene was
the picture that one of the photographers
caught showing his colleagues running
from the flames, each weighed down by a
sixty-pound camera.
The newsreel cameraman was "Johnny-on-the-spot" during
flood in 1913. More than seven hundred lives were lost
dollars in property destroyed
comparison ends. Tho the reporter can
get his information from people who have
been on the scene of an accident, the
photographer must actually be there when
it occurs. He cant tell about it ; he must
have it on the film. If there is gun firing
in military operations, he must be close
enough to get a picture of it. And after
the picture is taken, he cannot, as the re-
porter can, telephone or wire the news.
He must send the film itself.
Spare No Expense
"I-1 he cameramen are instructed that no
expense must be spared in rushing pic-
tures. When they leave for an important
assignment they are given enough money
to cover all expenses. When Robert
Donahue, a Pathe photographer, was sent
to northern Ontario to get pictures of
newly discovered gold mines, he engaged
an airplane for $400 to shoot scenes from
the air. "If there is an obstacle that
money can overcome, pay for it," seems
to be a slogan.
It is obvious, from all this, that news-
reels must cost a great deal of money.
And they do, tho the scenery is free, and
no actors are required. Emanuel Cohen,
editor of the Pathe Newsreel, explained
why.
"A modern feature picture shows its
cost, but the cost of production of a news-
reel is not always apparent from the re-
sults," Mr. Cohen said. "We use only
about ten per cent, of the material we go
after. Ninety per cent, represents stories
covered in all parts of the world that seem
big when they happen, tho they dwindle
immediately and are not worthy of re-
lease, or they are less important than
other events that may happen in the mean-
time. When you see the newsreel in your
theater, it is not the production of that
reel you have to consider, but the material
that has not even been included in it. A
newsreel that is an accurate record of
world events costs big sums of money to
produce."
Three Types of
Pictures
Mews pictures are
of three types
— the accidental,
the anticipated and
the scheduled, Mr.
Cohen pointed out.
In the first class
belongs sudden
news like the Santa
Barbara earth-
quake, or the
Shenandoah dis-
aster. In the second
are those events
which occur as a
natural result of
preceding events.
Mr. Cohen sug-
gested that the
Smyrna fire in 1922
was such an event,
for tho no one
could have pre-
dicted the fire, any-
one who had kept
track of the war
between the Turks
and the Greeks
knew that some
tragic occurrence
would be the out-
come.
In the class of
scheduled events are the inauguration of a
president, the opening of a World's Series,
the Yale-Harvard football game, the
Scopes trial, the arrival of a steamer^
beauty parades and the like. Since these
events occur in all parts of the world, it is
imperative that the news film have repre-
sentatives stationed everywhere.
No matter where an event occurs, be
sure there is some news photographer
within reach of that place. Film editors
have in their offices extensive maps, show-
ing in detail the tiniest town in the most
remote corner of the earth and the pho-
tographer stationed near there. No one
knows where the next picture will break.
Besides the maps, the editor's offices are
equipped with charts showing the trans-
portation resources ; the railroads, the air-
planes available, power boats, automobiles,
steamers and their sailing dates. That is
how it is possible to show within twenty-
four or forty-eight hours after they occur
events of national and international im-
portance. Sometimes the film travels in
laboratory trains or ships where it can be
developed while it is being shipped.
When Robert E. Peary discovered the
North Pole in 1909, it took five months
for the news of his achievement to reach
this country. But when Byrd hopped off
on May 9, 1926, the world knew about it
(Continued on page 74)
Pathe
the great Dayton
and millions of
70
Natural -
Looking
Complexions
are the result of using
Pompeian Beauty Powder.
It is scientifically blended
to match the shade of
your skin.
C70yHEN EVER you art
\jU out-of-doors you
should be especially
careful to select the
correct shade of pow-
der and to apply it
evenly.
SHADE CHART
for selecting your shade of
Pompeian Beauty Powder
Medium Skin: The average
American skin cone is medium,
neither decidedly light nor defi-
nitely olive. This skin should use
the Naturelle shade.
Olive Skin: Women with this
type of skin are apt to have dark
hair and eyes. This skin should
use the Rachel shade to match its
rich tones.
Pink Skin: This is the youthful,
rose-tinted skin(not the florid skin)
and should use the Flesh shade.
White Skin: This skin is unusual,
but if you have it you should use
White powder in the daytime.
In case of doubt about the shade
you require, write a description of
your skin, hair and eyes to me for
special advice.
Pompeian Beauty Powder is 60c a
box. Also comes in compact form
in a dainrv, hinge-cover box with
mirror ana puff. (Slightly higher in
Canada.) Satisfaction guaranteed.
Specialise
Bb^WtAstt
en Beauti
P. S. 1 also suggest that you ust Pompeian
Day Cream as a foundation for your
Pompeian Beauty Powder.
'By MADAMB JEANNBTTE
Famous cosmetician, retained by The Pompeian
Laboratories as a consultant to give authentic
advice regarding the care of the skin and the
proper use of beauty preparations.
(T\ SOFT, delicate texture— a lovely
CVl satiny face — yet not a sign of
powder. What is the secret of her allur-
ing complexion? Does she use powder?
She does, but a shade that matches so
perfectly the tone of her skin that she
secures the good effects of powder with-
out seeming to use it.
All smart women strive for a natural
complexion, but all do not achieve it.
Not all women have found a powder
that really matches their skin — a powder
that reveals their natural coloring. Com-
plexions are not composed of single
colors, but a blend of different colors.
So it is only natural that the shade of
powder to match your complexion must
also be a blend.
Pompeian Beauty Powder is scientifi-
cally blended from different colors.
Whatever the tone of your complexion,
some one shade of this powder matches
it perfectly. Select this shade from the
directions in the shade chart.
Pompeian Beauty Powder has gained
its remarkable popularity because of its
purity, its exceptional consistency, its
delicate odor, its quality of adhering
well — and its perfection of shades.
The type of beauty that combines reddish hroun
hair with sea- tray eyes requires the Naturelle
shade of Pompeian Beauty Powder.
Send for
Liberal Samples
C I ~\0 you not agree with me about match-
I J ing your skin tones with the correct
powder shade? Then 1 urge you to act on this
advice, and see with your own eyes how much
more beautiful Pompeian Powder will make
your complexion.
It is so easy to make this test. Just fill in the
coupon and send it to me with 10c. In return,
I will send you a generous sample of Pompeian
Beauty Powder (enough forseveral weeks' use
and in addition a sample of Pompeian Bloom
containing enough rouge for 30
applications. It will never be
easier to tear off the coupon
than NOW, before you
turn the page.
Madame Jeannette, The Pompeian Laboratories
2305 Payne Ave.. Cleveland. Ohio
Dear Madame:
I enclose a dime <10c) for samples of Beaury
Powder and Bloom.
Name
Street
Address
City State •
Shade of powder wanted ?
71
BIG VIC a Soldier of Fortune
(Continued from page 49)
A scene from "The
Fighting Heart" in
which McLaglen
played the role of
a prize-fighter
A Crazy-Quilt Career
"T was born in England, the son of an
* Anglican Bishop, whose see was in
South Africa. I was one of five brothers,
all close to me in age, nearly as big as
myself. When I was fourteen, the Boer
War broke out in Africa. I was nearly
six feet tall then. I was crazy to go in,
and I ran away and enlisted in the Queen's
Guards at Windsor. I suppose you might
say I have been an adventurer ever since.
That was my first xbig thrill. My last,
nearly a quarter of a century later, oc-
curred when I met Commodore J. Stuart
Blackton in a London club after the Great
War, and he started me in the motion
pictures. There were many great adven-
tures during that long interval. Many
far stranger than any I have gone thru
for the camera. Too many almost to
tell. . . ."
With the Royal Guards in
Africa, the boy McLaglen
served thru several stubbornly
fought campaigns. He
got the hard school-
ing of the British
Tommy. He had
no real direction
except the desire
of his whole
powerful body
for danger and
chance. It is a
life described
best in the
verses o f
Kipling or
A. E. Hous-
man :
/ will go where
I am want-
ed, for the
sergeant does
not mind;
He may be
sick to see
me, but he
treats me
very kind
/ will go where
I am wanted,
where there's
room for one or
two,
And the men are
none too many for the
work there is to do,
Where the standing line wears
thinner and the dropping
dead lie thick,
And the enemies of England,
they shall see me and be
sick.
When he had served out
his enlistment, Victor set
out for Canada and during
his knockabout life in the
Dominion joined the wild
rush to the Cobalt silver
mines. Wandering, the
lure of precious metal, the
changing fortunes of each
new day, the life in the
frontier lands — this was
all the strapping youth
cared for in a prosaic age.
In the rough company of
the mining camps, he, with
his herculean size and
strength, could always
care for himself in a fair
fight and hew his own way
toward a quick fortune.
But with neither gold nor
other man down. Well, his jobs with the
circus consisted of rising each night from
the audience and challenging the profes-
sional boxer and wrestler, one "Monsieur
Duval," and giving him the scrap of his
life. The sight of the hulking beetle-
browed young stranger rising from the
crowd to dare on the professional always
provided excitement, if not always decep-
tion. McLaglen developed as a profes-
sional athlete and, taking an engagement
with his partner, toured Canada in those
rough and tumble days from coast to coast.
One day in Tacoma, Washington, a
group of sporting people became interested
in him and urged him to be the White
Hope against Jack Johnson. He trained
and took on the Black soon after for a
six - round, no - decision affair. Victor
stayed, but he did not stay as a prize-
fighter. He took a fling at professional
wrestling and managed to pin the cele-
brated Dr. Roller of Seattle for a fall.
Victor felt the call of the road again
and soon he was en tour, this time with
his brother Arthur, across the Pacific,
stopping for professional performances in
Hawaii, the South Sea Islands, finally in
Australia.
Adventures In and Out of War
""There he ran full tilt into another young
gold-rush. He threw over his vaude-
ville engagement and joined the race for
Captain McLaglen presents himself and his favorite
mount on duty in Mesopotamia during the great war
Another scene from "The Fighting Heart."
how big Vic towers over the others
Note
silver was he rewarded.
Starving, the youth wan-
dered back to the fringes
of civilization, and with
his wanderlust still un-
abated, he hooked up
with a traveling circus
troupe known as the J.
W. Parker Carnival
Company.
Fights Jack Johnson
I— I ere began one of the
most colorful epi-
sodes of McLaglen's
crazy-quilted career.
You must remember that
he weighed over two-
hundred pounds and in
his soldiering and min-
ing life he had learned
much about how to han-
dle his fists and put the
the interior to Kalgoorlie, in the general
excitement. Another chance to hew out
a quick fortune ! He came out of this
wiser and poorer, after months of har-
rowing experiences, in rags, his tongue
hanging out. He had nearly died of star-
vation in the desert ; he had nearly been
murdered by the savage Bushmen.
Back to the vaudeville tour and the
nightly strong-man act ! His route took
him round the world thru the East Indies,
Ceylon, India and then to South Africa.
"The wanderlust was still strong in me,"
said McLaglen. "Some men never get
over it. I had nearly had my fill of hard-
ships and adventures, when another break
came. It was August, 1914, when we
landed in Capetown. We learned that a
great war had broken out in Europe."
McLaglen took to sea at once for Eng-
land. There was one of those solemn
family reunions of the five McLaglen
(Continued on page 78)
72
More Inside Facts About
the Extra
(ContinuiJ from pagt 67)
because' he >* beaten' Ui, no I rh« men
who bland our trails tcrou t>»- Missis
lippi, broke the backbone ol ■> continenl
.nul carved an empire from th<- wilder-
nets; lhe men whose ions cleared the
■me and ->t.mii>otl success upon the
flag of failure, could iu>t. and can'l be
beaten This bo* is not whipped, i>ut he
ii taming Ms back upon a profession
which is racking the heart's blood from
the beat boys and «irls In America He
has watched them come, buoyed up with
hope, .nul -t.n to drink the dregs oi black
despair tie has seen them -te|> down
from their high estate and. hollow-eyed
and hungry hearted, choose the path which
promised easy conquest.
Now. he is quitting— while he still has
it in him to quit. He is returning to the
old home town, to the toil-scarred loom
of life upon which so many great Amer-
icans have woven their Master's plan of
destiny. It may not sound heroic, but it
takes a strong man to turn his back while
the siren beckons forward. This boy is
going back, only one of the thirty thou-
sand extras who are searing their wings
in the golden dawn of a screen career.
And it's a pity to- see him cross the moun-
tains alone. Twenty -five thousand other
extras might follow him, back to the
farm and the old home comforts, and the
industry would be better for it."
Personally, I would like to meet this
fellow and shake his hand. He is about
the first person I've heard about who
shows absolute signs of human intelli-
gence. I wish I could quit. Maybe, some
day, somewhere, somehow, I will quit this
extra game — to play a better one.
An illustration of fact is, of course,
the only method upon which we an base
any certified result. And so far as the
Great Central Office is concerned, it seems
that the best known casting directors for
the different studios have said that the
Central Casting Bureau is the greatest
and best way yet realized. The Central
can handle two or three enormous sets
daily. Not long ago there were several big
companies that required from three to six
hundred people each — and the Central
Office put those two thousand people, more
or less, on call within the prescribed few
hours. And it was done with remarkable
speed and accuracy. It is like a big
machine.
You would marvel at the greatness and
magnitude of the Central Casting Bureau
— which is a baby. And from the best
and most authentic reports every person
connected with motion pictures, and, es-
pecially those who have the duty to cast
people for the studios, say that the Central
Office has won their hearty approval.
A Tremendous Battle
"Then, it reverts back again to our
original topic. If you are planning a
picture career, it is best for you to go to
Hollywood prepared to make the sacri-
fice and fight your battle with CHANCE
without any assistance ; take your turn on
the wheel of fortune and be satisfied with
whatever lot is given you. On the other
hand, it is difficult, it is rather strange
and unusual to tell you to stay away from
Hollywood. It is hard for me to say to
you, "stay away from pictures ! You
mustn't go to Hollywood and try' to get
in the movies !"
That statement appears as tho one were
(Continued on page 79)
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73
THE FEDERAL
LUST&iTOR
ARTISTIC TALENT
♦Perseverance
= Success
Compare the small drawing at the left made by
George Halman Ray before studying with lis and the
Cover Design at the right, which was made recently.
Note the wonderful improvement brought about
by the right kind of training.
His is an interesting story. When eighteen, be
was employed as Indian interpreter and storekeeper
at Hudson's Bay, one hundred miles beyond the
railroad. In summer his mail was carried in by
canoe ; in winter by dog sledge.
Perseverance — Then Success
He says, "My cousin sent me a magazine which
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I owe my start in illustrating entirely to the
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Federal School Building, Minneapolis, Minn.
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Charmed Lives and Reckless
(Continued from page 70)
on the following day, and twenty days
later, motion pictures of his feat were
being shown on Broadway. In these days
of speedy accomplishment, twenty days
may sound like a long time, but not when
one considers the distance covered and the
difficulties overcome. And this is how the
pictures were rushed to New York : rep-
resentatives waited at various Norwegian
ports and the film was relayed by char-
tered boats and planes from man to man
until they were safely conveyed to South-
ampton in time to reach a steamer sailing
for New York, and at noon, Friday, May
27, the pictures arrived at quarantine 1
Endured Hardships
TT hat's the story, told in as few words
as possible. But if you wanted to
know as I did, the more personal side of
it, this is what you would be told : our
American photographers were exposed to
the same biting frosts, the identical condi-
tions that Commander Byrd endured — but
they weren't made national heroes. Tho
the crew of the Chantier, the official boat
of the North Pole expedition, was permitted
to land at Spitzbergen, the cameramen
were not allowed to photograph the land-
ing of Byrd from the shore. But that
was what they had come all the way from
New York to get. Something had to be
done and done quickly. So Robert Dona-
hue, Leslie Wyand and Willard Vander-
veer, Pathe cameramen, lashed an ice-
berg and took pictures from that vantage
point ! These men lived for twenty-one
days in the perpetual daylight of the
Arctic summer. They were not only
photographers, they became members of
the crew. They helped assemble the
Fokker and shifted coal like anyone else.
At any hour they had to be ready to
work, tho their fingers were numb and
their cameras frozen. In their little plane
nicknamed Yellow Peril they took shots
of Byrd's plane from the air. (The actual
pictures of the Pole were taken for Pathe
only by Commander Byrd, of course.)
Once Donahue barely escaped death when
the radiator of the Yellow Peril broke
and froze in mid-air.
Donahue deserves a story all to himself.
A little, wiry Irishman, he is given the
toughest news assignments in the Pathe
organization. Even a wife and children
cant keep him from skimming all over the
world in search of pictures. He has been
to Iceland, Greenland, Labrador and all
points north, east, south and west. Dona-
hue had just returned from the gold dis-
covery at Ontario when he was told to
get himself some heavy clothing for the
North Pole trip. Within two days he
was ready to sail. He tells this story
about himself with great relish. He
breezed into town one day, having been
away on a five months' assignment, and
telephoned his wife that he would be home
shortly. His family was overjoyed to
hear from him. Two hours later he tele-
phoned 'again.
"I'm sorry I won't be able to come," he
said, "but I have 1 :> leave right away for
Scotland."
Last year Donahue had a vacation, the
first in two years. Anyone would expect
him to spend it lolling around and doing
nothing. No. He packed Mrs. Donahue
and the children into an automobile, and
they rode into Canada and back, a trip of
fourteen hundred miles.
Insured by Lloyd's
YY/hen the American news cameramen
left for the North Pole, they were
insured by Lloyd's of London. No Amer-
ican insurance firm would take the risk.
However, most of the newsreel firms have
an understanding when it comes to caring
for their photographers. One official ad-
mitted to me that insurance companies
preferred not to insure the lives of cam-
eramen, but when I questioned him fur-
ther, he told me bluntly that he did not
wish to discuss the subject.
"It is clear," he said, "that the camera-
man must take great risks to obtain a pic-
ture. Occasionally one is killed or severely
injured, but most of the men seem
to have charmed lives. They expose
themselves to all sorts of dangers and get
away with it. I dont believe the death
rate is any higher than among men of any
other profession. And no matter what
the attitude the insurance companies take
toward them, the film companies feel a
personal responsibility for the men in
their employ."
Dangers Everywhere
"Pharmed lives." Most assuredly, else
how could they take the chances they
do? There was the photographer, who
just for an exclusive stunt, flew an air-
plane thru the Grand Canyon a few years
ago, in the face of a certain and terrible
death, thousands of feet below, should any
part of his machine so much as brush up
against the walls of stone that closed in
upon him.
And there was the cameraman who flew
with an Italian airman into the very crater
of the smoking Mount Etna for pictures
of its seething interior. And the man who
photographed the Japanese earthquake.
And the fellow who caught some magnifi-
cent shots of a tornado in action.
There is also John A. Bockhorst, whose
own bravery as a cameraman was as dis-
tinguished as that of the man he photo-
graphed. When Sergeant Randall Bose,
in order to make a scientific experiment,
dropped eighteen hundred feet before open-
ing his parachute, Bockhorst, seated on a
wooden bar with nothing but space before
him leaned forward to catch the spectacular
fall, as oblivious of his own precarious
position as if he sat in an armchair by a
fireside.
This same Bockhorst was once covering
the war maneuvers of the Naval Air
Force sixty miles off Nicaragua when
something went wrong with his craft and
he found himself thrown into the water.
He remained afloat for twelve and a half
hours until, at midnight, a destroyer came
along and picked him up. To Bockhorst
also is ascribed the honor of discovering
where the S-51 sank after it was rammed
by the City of Rome. He flew in his
seaplane until he caught sight of the air
bubbles and oil on the surface of the
water below which the submarine was
buried.
And there are Donahue and Vanderveer,
mentioned previously, who as members of
Commander Byrd's expedition helped to
clear a path for the pontoons bearing the
Josephine Ford thru cakes of ice that
broke the sides of steel lifeboats.
And there are those countless others
who brave the dangers of firing lines, of
storms, of uprisings among foreign tribes
and crossing oceans by airplane in order
that some priceless picture may flicker (or
a few moments.
74
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Three Writers Consider the Films
i ( onlinued from /■■
Art i- looked upon uttei
knee bj ill" ic in the know. It i
gustingl) mii
Eventually, one bj
ts in .ill the othei Arts be< ome im
patient ovei the childishness, the inefficacj
and the rottenness ol the Movies, and
decide to pitch in and spend a few w<
or .1 lew months .m,i just put them in
their place ai .1 n< have read
about them well-known Painters, Sculp
An inii 1 1 .. [nterioi I decorators,
rs, I '.in, ers, Pi «l . Shoi t Stt n j
Writers, Novelists, Composers, Dram
atists and mi on — entraining foi Los
les. Later on, your theatei em
med as .1 -pci i.il f( ature what i ■•
these bona fide A 1 1 i^t ~. had done for the
Movies. You bought ticket- and took the
famil] all keyed up with expectation.
"Nowl" you told people, "We shall have
a real motion picture play, the way it
ought to '■■
And what did thej .ill turn out to be:
Prom the artistic point ol view, they at
tempted to make .1 -ilk purse out of a
sows ear, actually they succeeded in doing
the reverse, making .1 sow's ear out
silk purse I With a sigh ol relief, you
went back to your Movies unhampered by
real Artist-.
Motion picture plays seen 01 creen
srrm so siniplc. And they arc. They
should bel Thai is the secret of their
appeal, their success. That is the secret
of all Art appeal. It would seem to argue
that the Art of the motion picturi
come nearer to approximating pure Art
than any other form of esthetic appeal.
"But it is a "mechanical' art!" protests the
artistic soul. For answer, I should advise
this protestor to try to make a motion
picture himself; we will lend him the best
mechanical aid in the world. Then he
will discover, a- they all discovei sooner
or later, that photodrama is perhaps the
most baffling of the Arts. They will learn
that the mechanic- arc as incidental as the
sculptor's chisel and the painter's pig-
ments, and that the "picture" differs only
in terminology from all other arti-tie
visions and it too i- born — surrounded
with all the unsolved mystery of Birth — in
the soul of the Artist. He will discover
that in transmuting the vision into screen
pictures there is a technique as hard as
the carving of stone and as delicate as
the drawing of an eyelash.
Yes, this producing of good motion pic-
tures is most baffling — even to those who
do produce them. They know how to do
it, but actually they do not know how they
do it. That is, they can go on producing
pictures and plays hut they cannot tell you
how to do it, any more than any other
kind of Artist can tell you how he doe- it.
You are either horn with the talent or
are not.
So, now that I have tried to answer the
question, I will now ask it. Why can we
not take the most talented authors, for
instance, in the world today and turn them
loose in the studios and on the lot and
expect Masterpieces of screen creation-
from them? What we need are stories,
is the cry. Now here arc the greatest
living story tellers. Let them solve the
problem of the Movie- !
I can sum up my findings among the
finest talent in the literary world in a
few words. So far as the movies are
concerned, they are people of the past.
There is neither hope nor promise in
them. The progress of the Motion Pic-
tuu- • 1 1 taught,
made 1 alent I
JOHN GALSWORTHY
you .11 1 i> e .11 I lamp itead \ ou are not at
bj a long ihot. You must
walk up Hollybush Hill, p. 1-1 the old Inn
ih.it has done service i"i three hundred
, l>\ the chimi with
the rat c.iii her next door and final
the Admiral's I [ou 1 . along tide "t which
the Galsworthj mansion 1- tucked in.
You peep at it thru an iron gate in which
i- set a hell that VOU rin^. Then a
much-aproned, white-capped maid opens
the gate and lei- \ ou in a- far a- the
hallway where you stand and gaze at the
Galsworthy hat, overcoat and -ink on tin-
rack. Then you are shown upstairs and
into a pleasant room.
Mr. Galsworthy was not there, hut Mrs.
Galsworthy was and we had nearly
finished our tea before he came in.
Mr. Galsworthy i- an extremely quiet
-ort of man. When lie does speak, it
i- in a low voice and with a half smile.
"I have just come from America," he
informed me. "We spent the winter in
Arizona."
What a pity 1 I thought, lie might have
run over to Los Angeles and fixed up the
movie- while he was right there in the
vicinit} .
"The films?"
I fancied he almost turned up hi- nose
at the mention of them.
"I'm pretty well known to he indifferent
im the films."
I asked him if anything of his had been
screened, hoping perhaps to discover in
that, the cause of his distaste.
"( lh, yes, a number of my things have
been done in the films — 'Justice,' for one
tliiiii:. Very will done, so far as they can
do it. 'The Skin Game,' too, was done.
The same company that played it on the
stage did it for the films, by the way. 1
arranged the scenario and we all kepi
faith with the stage play. Even then it
was anything but satisfactory!"
Ah, so that was it! I thought, and
would like to have said something about it.
But Mr. Galsworthy continued: "What
I object most to in the films — not the
real-life films that photographs the facts
of lite, I like them and approve of them
— hut the others, films that are made from
play.-, novels or attempt original stories —
those are the kinds I resent ! And what
I resent is that you get thoroly emotion-
alized sitting there for two or three hours
waiting for something worth while to
happen — and then you find that you have
been scuffered ! For when you come out
of one of their theaters, you take nothing
with you. It isn't that they dont try to
give you something. They do, and fail I"
There is no use trying to do anything
with John Galsworthy then, i- there?
It is my opinion that he must insist
upon a photoplay being a stage play;
which it is not, by a jugful. That is why
his self-scenarioized "Skin Game" was a
failure.
MARGARET KENNEDY
sent up a book to the powers that be, I
understand. But there are so many con-
ferences and strings to pull.
"Every now and then I see a film that
■od,'' she said naively, "fearfully
good. I have just seen 'Rosenkavalier.'
(Continued on payc S3)
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Big Vic a Soldier of Fortune
{Continued from page 72)
brothers, Victor, Arthur, both back from
their world tour, Fred from Winnipeg,
Leo from China, and Clifford from
Africa. All but Fred, who was killed in
East Africa, survived to hold another re-
union.
Victor was given a commission as first
lieutenant in a crack regiment, the "Die-
hards." Altho an old soldier, he under-
went training again for the new type of
trench warfare. The regiment was not
up to full war strength and there were
weeks of waiting. Then McLaglen was
sent down to London to act as recruiting
officer. In one week he enlisted six-
hundred men.
A
Excitement in India
nother turn of the wheel found him
switched to special duty in Mesopo-
tamia under a special commission. He
crossed the seas again for Bombay on
the way to the Near-Eastern front, where
he was assigned to the Royal Irish Fusi-
leers. At Mawabeeschwa, India, McLag-
len had to halt and wait again, dividing
his time between hunting and preparing
to go to the front. At Poona he made the
acquaintance of a great prince, the Rajah
of Alcacot. They became fast friends,
the Indian potentate admiring the gigantic
Englishman. McLaglen remained as a
guest at the palace of the young prince.
There were strange days and nights in
the land of the Brahmans. Some terrible,
some funny.
"I was the only white man in a radius
of six hundred square miles, and some
inhabitants had never seen a white man
before," he tells. "One evening I wanted
to take a walk, after returning from an
antelope hunt with the prince. I had
never seen the old Indian town alone by
night.
" 'I'll send an escort with you,' the Ra-
jah proposed.
" 'Pooh,' I retorted. T don't need an
escort.' I strode off the verandah without
looking back.
"I was enjoying my stroll immensely,
to the great' interest of the inhabitants
who stared at me from dimly lighted
doors and windows. Then behind me I
caught sight of a white-clad figure fol-
lowing me in the darkness. Quite close
at my heels, keeping a respectful distance
behind me, but nevertheless unmistakably
following me, there was a native. I
dodged behind a corner and waited for
him to come up. I called to him :
" 'What are you doing ?' I had for-
gotten all about the Rajah's remark.
"He made me a low salaam. T am fol-
lowing the Sahib,' he said humbly.
" 'Follow the Sahib,' I said impatiently.
'Well, the Sahib doesn't want to be fol-
lowed. Stop it.'
" 'Very sorry, Sahib,' he salaamed
again. 'His Highness the Rajah orders
it."
" 'Oh !' Light broke on me, 'all right
then, but dont follow so closely.'
"Soon after, walking on some distance,
I nearly stumbled on another man who
was dogging me. I turned on him. I
was getting jumpy.
" 'Very sorry, Sahib. His Highness the
Rajah say to follow the Sahib.'
"Doubling on my tracks I almost
stepped on two natives who scurried
hastily out of the way. They seemed to
be all about in the darkness.
"They salaamed : 'His Highness said
not to take our eyes off your honored
person.'
" 'How many did he tell to follow me,
anyway? Step up all of you.'
"They popped up from all around me.
One, two, three, four — from all directions
— when I had got them all lined up in
front of me I had twelve guardsmen, big
and little. I looked them over and burst
out laughing. Twelve small and appre-
hensive natives to guard a husky English-
man who could make any three of them.
" 'Come on,' I cried, 'if you're going to
be my guard of honor you've got to do
it up in style.' I formed them into squads
and marched them after me around the
town, snapping orders they hardly under-
stood, like a drill sergeant. When I got
back to the palace I called for my camera.
" 'The first guard of honor I ever had.'
It wasn't my last, but it was by far the
most impressive."
Tough Assignments
JVAcLaglen was promoted to the rank of
Captain and Provost - Marshal, over
Sheik Saad, on reaching his detachment.
There was an advance against the Turk
and furious fighting before Kut-el-Amara
in an effort to save the beleaguered forces
of General Townsend. The city fell, and
they pushed on to Bagdad, which fell
after bitter fighting. Here McLaglen be-
came keeper of the peace of the city of
the Thousand and One Nights.
"It was one of the strangest and hardest
jobs of my whole life as a soldier," he
remarked, "to restore the semblance of
law and order after the long siege. There
were nights when we, after all only a
handful of men, waited up hour after hour,
expecting the fanatical hordes within the
walls to break loose against us. We
lingered there for nearly a year, holding
a line against the enemy, amid the heat
and filth and fever of the war-torn Orient.
I got so used to it, that it was a shock
to come back to civilization when the war
ended."
Back in London again, Victor took part
in the boxing tournament of the British
Army. He won the heavyweight cham-
pionship with ease. This prompted him
to take up prize-fighting again, engaging
in several bouts at the London Sporting
Club. But they didn't pan out well and
he soon swore off. It was at this time
that he met Commodore Blackton and
was prompted to try the movies. His first
picture, "The Call of the Road," was a
success, and before long the erstwhile
globetrotter and soldier of fortune found
gold in a new kind of adventure. His
rise to leading roles since coming to
America has been unusually rapid.
You have come to know his scowling
face and violent frame in "The Hunted
Woman," "The Fighting Heart," and lat-
terly in "Men of Steel," with Milton
Sills.
It is a placid and world-weary adven-
turer that you see now around the hills of
Hollywood in his big car. Recently there
was a call from the old days. In his
claim-staking period he had clung to a
piece of ground in the Mojave Desert.
Word was flashed to him that gold had
been struck there. But Victor is world-
wise now, and stuck right to Fox Hills
while he had his partner work the claim.
78
More Inside Facts About
the Extra
1 1 \ mil; in !'!!■ ■
nielli Ever) person I
and moral i ighl t" < ! > I
I mam more
i 1 1 \M I S in the moviea thin then
in .m\ other busi ions,
But not tl opportunity. And
you wei j seldom I ■ l> ■'
thing to othei people who wish to follow
other lines ol work, N ou never hi
person telling another to -t.»> awaj from
Los Angeles or Hollywood because that
other person intends to open a ba
shop or .1 lawyei or a doctor's
i (r .1 dentist, I li ai ) thing, in
fact, except the movies. There an a
great man} more certainties and assur
- in other professions. \ml if you
disbelieve tlii>, then, trj the movies— and
report in a year from now !
Impressions of Hollywood
ntinutd from page 44)
I say garden?— and the long dining-table
about eighteen inches from the grass
t. unly was cleverlj arranged and deco-
rated. As 1 stood .mil watched the hungry
little chaps ami girlies sail into the dain-
I felt like Gulliver among the Lilli-
putians. Mildred Davis was, ol course,
the hostess, and a very charming one.
She Likes Him
There seems to be no doubt of the fact
that the heart of Pola Negri is very
warm for Valentino, and that he is her
first choice of all men, hut there is con-
siderable doubt about the reciprocal rela-
tions. Rudy had many admirers among
those he admires, but he is apparently
heart- tree, which does not at all please
Pola, who proves it by slapping his face
occasionally.
Long Live the King
LIknrv Kim, is long, lean and lanky, and
* * with his present bronze complexion
and seated on his horse he looks like a
farmer, in spite of his horn-rimmed
glasses and immaculate Panama. And he
talks something like one. being a Virginian.
But he certainly can direct ! "The White
Sister," "Tol'able David" and "Stella
Dallas" are the Derbies he has won, and
now it looks as it "Barbara Worth" will
be another. And yet, this same man did
"Komola." which apparently lowers the
average considerably in spite of the won-
derful atmosphere and art in that picture.
I asked Henry about that and he proved
a perfect alibi. It seems there was a law-
suit on at the finish and poor Henry was
not let in on the final editing, titling and
cutting, which, a;- we all know, practically
ruined the picture.
Prize Love Scenes
AlfONG the be-t love scenes we have seen
^^ during the pa>t year might be men-
tioned those between Colman and Banky
in "The Dark Angel," Valentino and Banky
in "The Eagle," and Valentino and Banky
in "The Son of the Sheik." which indi-
cates that Yilma is holding her own among
the American sweethearts, altho we must
not forget Gilbert and Murray in "The
Merry Widow." Gilbert and Adoree in
"The Big Parade." Lyon and Sweet in
"The Xew Commandment," Xagel and
Boardman in "The Only Thing," and Gil-
bert and Gish in "La Boherae." Gilbert
seems to have the best batting average
among the great lovers.
7 phoning over a ray qf light
Building on the Telephone 'Principle
In iy years ;il'<> A lexa n <1 e r
Graham Bell discovered the prin-
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telephone employed wire as the
connecting path over which words
passed. Four years later he used
a Learn of light instead of wire to
carry speech between telephone
instruments.
Today, both wire and wireless
telephony are employed on every
hand in the service of the nation.
Wire telephony, with its thousands
of central offices, its complex
switchboards and millions of miles
of wire, envelops the country,
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70,000,000 conversations every
day. Wireless telephony is broad-
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remotest regions.
But new applications of the
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The Celluloid Critic
(Continued from page 51)
its early theater scenes — with the various
acts dissolving into one another. I an-
ticipated a healthy plot, but it is soon
dissipated. It degenerates into a large
slice of hokum — when the girl appreciates
that her Tartar lover is a diamond out of
the rough.
Valentino Comes Back
All doubt about Rudolph Valentino fail-
■^ ing to get back upon his erstwhile
pedestal evaporates when under the spell
of his personality in "Son of the Sheik."
This is a true chip of the old block — and
the Italian star knew what he was about
when he decided to return to his favorite
and most adaptable role.
It is a vivid performance he gives — a
spirited, carefully wrought performance.
Once more he rides recklessly over the
landscapes — once more he makes passion-
ate love, balanced with passionate hate
toward the object of his devotion. And, to
add spice to the seasoning, he even doubles
as the original sheik who has become full
of years.
Plenty of Action and Color
Mo one can deny that the picture has
animation and color. There is a "snap
and go" about it the minute the sheik gets
into the clutches of the desert pirates.
He believes his beloved has betrayed him
to the enemy. Consequently, he metes out
revenge upon her. After kidnaping her
he discovers that she has played on the
level with him. So his anger gives way
to avowals of undying love.
Valentino "goes Fairbanks and Mix" in
the manner which he conducts himself.
Any editor who imagines he is of the
powder-puff species need look no further
than this film to realize that the star
carries on like a he-man. He mixes up
in fights — and is agile and athletic enough
to pass muster with an audience of lum-
berjacks.
The plot is not so much, but it never
fails to keep one interested. It is well
timed, the scenes racing along with the
« necessary punch. As for the atmosphere
— well, it comes up to requirements, the
desert backgrounds and detail suggesting
the real thing.
A First-Rate Take-Off
There's a first-rate take-off on the ro-
mance of primitive love in the open
spaces in "Mantrap," adapted from Sin-
clair Lewis' novel of the same name. It
shows right smart imagination on the
part of the director in getting away from
the stereotyped conventions. There is no
lurking villain, nor any vengeful husband.
Indeed, the big backwoodsman accepts his
wife's flirtations as something a part of
her nature — something which cannot be
remedied.
This is an "about face" for such a type
of story. It could have reeked with melo-
drama— with the hokum generating a deal
of hectic action. Instead, it is treated with
humanities — and more than a sparkle of
humor.
It serves in bringing Clara Bow right
up into the spotlight. She has never been
so happily cast. She flavors her role with
all the whims and fancies of the irre-
pressible flapper. Not far behind her in
the realism of his acting is Ernest Tor-
rence as the backwoods husband. He once
again relies upon his inimitable gestures
and expressions to humanize the character.
The Drama of Molten Metal
Qikce his "Sea Hawk" days, Milton Sills
has been developing in histrionic stat-
ure. In "Men of Steel" he has a rugged
drama — which sings an elemental song of
capital and labor, of strife and love, of
raw ore — and men in the raw. It is a
rambling plot — one quite involved, yet the
spectator must look beyond its ramifica-
tions and search for the theme — which
concerns the making of a man.
There's a fine background of steel mills,
the picture having been "shot" around
Birmingham, Alabama, in order to capture
a realistic atmosphere. As the Southern
city is another Pittsburgh, one must pay
credit to the authenticity of its scenes.
A Character Study
IWIolten metal is the moving spirit, tho
the onlooker will doubtless discover
the broad symbol behind it — which pre-
sents the inarticulate but forceful steel
work going thru the crucible of a refin-
ing process as it concerns his soul.
The melodramatic leanings of the plot
emphasize the atmospheric backgrounds.
These include vivid close-ups of giant
cranes, furnaces, flaming ore and mighty
shovels. One could not help but appre-
ciate that this is something of a titanic
drama — which offers life in the raw — life
which gives much and takes little.
If it is artificial, it is in those scenes of
the steel worker's abrupt change when he
becomes affluent. It hardly seems likely
that he would become so immaculate with-
out some experience in deportment. Yet
this is an insignificant trifle in the virile
acting by Sills.
"The Sea Hawk" gave him the neces-
sary confidence in himself to strike out
for big things. He is now making good in
a type of role that is right up his street.
Other good performances are rendered by
Doris Kenyon, Victor McLaglen and
George Fawcett.
Intelligent Treatment
(~)nce in a while a picture bobs up which
is seemingly treated as if its audience
is intelligent. Such a picture is "Pad-
locked," a rugged, honest piece of cellu-
loid drama. The theme of parental mis-
understanding of a child is worked out
with real humanities and realities. If it
stresses things a bit for melodramatic
conveniences, this stressing does not hin-
der the logical development of the plot.
One will see the daughter of a stern
and hypocritical bigot — a man whose heart
is padlocked against her tender sentiment
and emotions as the central figure. Her
mother understands her, but upon the
latter's death her new stepmother helps
her father in making her cross an ex-
ceptionally heavy one to carry.
It is not a tale of sweetness and light
— and thus it departs from pictury stand-
ards. True, it introduces a happy end-
ing, but this finish is reached in a com-
pact and reasonable manner.
The film surely serves in establishing
Lois Moran as an actress who must be
reckoned with in the future. She con-
veys in splendid fashion the baffled and
bitter girl fighting to win a freedom of
expression. And sympathy is engendered
from the start for her.
A well-balanced cast aids in no small
way in whipping this plot into something
approaching a slice of life.
80
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The Keystone Kop Who
Became a Director
"Menjou'a i nthu tiblc,*' hi
continued, "it's inf< mem
\ml
tophistii .hi. mi .mil enthusia in donl
hei .
"B< m\ Bron in is a i -
with the sweetnes« there's a nrmnc • ami
lutJofl tint • .mt Inn help come under
tin- I it. t « 1 .'i sophistication."
i d Sterling, tin- direi ti down
the world's mosl charming Baron
Munchausen since the original chai
Tom Moore is an Irish playboy. 1 1 «
walks mi clouds floating over an Emerald
Isle and whether In lit- you know it or
not there' mi Ins heart and i
un his lips.
Florence Vidor i-- the sweetest, sincerest
and most amiable actress that he has di-
rected And on the male side In- Bays the
same thing oi I li< -I'' * ''Hiklin.
Esther Ralston must prefer sti
combinations, Ik- says. One day she
brought two books to the set: "Science
and Health" and "Jurgen."
Louise Brooks, the ex Follies girl from
the corn belt, Mai believes, will be a real
star — when she changes the style of her
haircut. She lias a beautiful profile but
she hides it with a sharp square bob.
A Man of Many Gifts
Incidental to the man's ability as a di-
rector, he has developed his art until he
may be set down as something of a cari-
caturist. Not a picture does he make
without jotting down his impressions of
his casts, as the illustrations on these
pages prove.
Mai St. Clair writes a story now and
then and works along with his writer,
Pierre Collings, on his scenarios. He
directs, he draws, he writes, in a pinch
he acts ! He is, undeniably, an artist.
His urge for expression is so strong that
it bursts out in those various channels.
I've never asked him whether he was
musical, but I wouldn't be surprised if
this channel of expression were open to
him also.
The Answer Man
(Continued from page 64)
and he is five feet ten, weighs 160 pounds.
His real name is John Pringle. Xo, 1 have
never been married. Just an old, forlorn
bachelor of eighty years.
Marjorie D. — Well, it's best always to
tell the truth. Sin has many tools, but a
lie is the handle which fits them all. You
refer to Arthur Rankin as the blond
VasUi, in "The Volga Boatman." You
say that some Russians you know saw the
picture and said it was perfect in every
detail.
Rick. — What are you doiiii; in Florida?
You know, Colton says. "Men are born
with two eyes, but with one tongue, in
order that they should see twice as much
as they say." Yes, Mary Astor is engaged
to Irving Asher. Xorman Kerry in
Many Women." Blanche Sweet is to play
the lead in "Seventh Heaven."
Helary G. — You may send me your pic-
ture, but you will have to be content with
the picture at the top of the page of me.
Doris Kenyon is playing in "A Lady at
Play." Ben Lyon in "The Butter and
(Continued on pane 83)
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The Fine Art of Falling
{Continued from page 41)
"you learned to let your body go limp
the minute you were tackled. It's the
same in taking a fall. Never have your
muscles taut. That means almost certain
injury. Relax as you fall, and you're in
little danger.
"Break the shock of the fall with either
your hands, your shoulders, or your hips.
Be careful not to let your elbows or knees
slam against the ground or you'll get
some mighty painful bruises. And, above
all things, guard your spine ! That is the
one big danger spot, and failure to guard
it thoroly can easily result in very serious
injury."
Standard Falls
"Then, the preparations completed, Billy
went thru three standard falls while the
speed camera clattered away at a break-
neck pace, and vibrated so strongly that it
took both assistants to hold it firmly in
place on its tripod. The three falls were
the "Forward," the "Backward," and the
"Hundred -and -Eight." The illustrations
show each of the three in detail.
THE BACKWARD. This is one of
the most used falls in comedy work, serv-
ing as the aftermath of a wallop on the
jaw, a brick on the skull, and other simi-
lar impulses. (1) The hands are spread
for balance, and the left foot is thrown
back to start a swift pendulum swing
forward. (2) As the body falls back-
ward, the hands prepare to take the im-
pact. (3) The hands and wrists strike
the ground as the feet leave it ; the left
foot has nearly completed its forward
swing. (4) At the end of the fall, the
shoulders take the impact from the hands,
and the feet fly high in the air, prepara-
tory to the final sprawl.
THE FORWARD. Again the left leg
is used as a pendulum, starting from well
in front of the body this time. (1) As the
left leg swings back, the body is thrown
forward. (2) For an instant, as the left
leg completes its swing, the right foot
leaves the ground and the entire body is
in the air. (3) The hands take the im-
pact. (4) The body goes limp and the
right shoulder takes the shock of the re-
mainder of the fall, while the face meets
the sod